American Cowslip

a cocktail of clichés, few good actors in bad roles, childish humor and blasphemies,absence of coherent story, a donkey and a Peter Pan complex case. nothing new or convincing. it can be one of comedies about small things or a mixture between American Pie and fake Seinfelt clone if has little measure. but it is only a basket with all in a kind of improvisation.Ronnie Gene Blevis in search of few scenes to make his role authentic. irony is a thin line, the situations are bizarre , the message is inexistent. the salvation - good intentions of makers who search present a case of good guy with a lot of sins. but the indulgence falls in contact with the pink end. conclusion - poor cast !

I think this could have been an OK movie if the lead was someone else...or maybe not. He was just so disgusting. Whether this was intentional or not, given that he is a heroin junkie I have no idea. But I suspect the audience is expected to have some sort of empathy and/or sympathy for his character in a whimsical sort of way.

No, he was simply insufferable and it was hard to see why any of the other neighbours went out of their way for him.

The young teen neighbour (who, incidentally did look older) falling in love with him and all that was just plain creepy.

I hope this was not meant to be an anti-drug movie, because that is certainly not the way it came across.

Campus Circle > Film > Movie Reviews Archives FILM: MOVIE REVIEWS American Cowslip (Buffalo Speedway) By Candice Winters

Ronnie Gene Blevins as Ethan Inglebrink ShareThis

It's the age of addiction, and everyone's an addict. The media, politicians and anyone with power treats us that way – like we're a hopeless race of information junkies. We want news fast, answers even faster and if someone makes a mistake, you'd better believe the whole world will know in the time it takes to upload video onto YouTube.

Director and co-writer of American Cowslip, Mark David toys with the idea that the quirks in life are fueled and maintained simply by the addiction that has become America's disease.

In a small town in the remote California desert, Ethan Inglebrink (Ronnie Gene Blevins) is an agoraphobic heroin addict who is obsessed with his garden. The few enjoyments Ethan has in life are his poker nights with his elderly neighbors (Cloris Leachman, Diane Ladd, Priscilla Barnes) whom he has convinced that he has diabetes in order to explain his frequent use of syringes.

Ethan's plan to evade eviction for another month is to win the $10,000 first prize in the "Garden of the Year" contest. The druggie is particularly interested in perfecting his "American cowslip," a beautiful rare flower that will be the centerpiece of his garden.

This dark comedy follows the last days of Ethan's life as he struggles to find purpose at a time when it might be too late to even matter. Spiraling down a dark and messy hole of drugs, self-loathing and insanity, Ethan finds true love in Georgia (Hanna Hall), his beautiful 17-year-old neighbor who wants to leave the small town to evade her abusive father (Bruce Dern).

Without spoiling the end, Ethan pays for his self-indulgent lifestyle, though it is the entire neighborhood block that comes to realize that everyone is an "Ethan," because passion is at the root of human nature.

American Cowslip is a comedy that makes subtle jabs at the absurdity of the current "normal" American lifestyle. This film is reminiscent of 2000's Requiem for a Dream, though in many ways it also parodies this and other films directed toward making a statement about America's drug pastime.

In fact, this film is so absurd, you can't help but laugh as Ethan convinces his old lady friend to score him some heroin under the guise that it's insulin. And when it comes down to it, even death is a silly coincidence.

Grade: B

One of the worst movies I've seen. All the characters are one-dimensional, the dialog is insipid, and the characters' motivations make no sense at all. The protagonist is an unemployed, agoraphobic junky, who doesn't pay his rent and doesn't think of anybody but himself. He's disgusting, revolting and selfish. He has not a single redeeming quality, yet everyone loves him. Even his landlord, to which he owes several months rent, says that he really likes him. They don't even mind the fact that he goes weeks without bathing. But what's beyond even those absurdities is the cute teenage girl across the street, who is half his age and is madly in love with him. Yeah, this could happen - in a bizarro universe! I didn't laugh once. All the jokes were juvenile, insipid or lame. It was painful to sit through this. I felt embarrassed for the filmmakers. For example, they put trendy, titillating vulgarities like "corn rocket" and "donkey punch" in the mouths of 70 and 80 year-olds. This concept was beaten like a dead horse at least 15 years ago. And now, it's just sad. Every characters' actions are so implausible that the story falls apart because what they're doing is so completely out of character and nonsensical. It's as if a group of 10 year-olds got together and brainstormed for a story - and then threw in some requisite adult swearing. Who is the target audience? It's clearly written for the 10 year-old mind, so why did they make it an R rated movie? Don't waste your time with this trash.

Just as it's name implies, this movie grew on me. It certainly left me with a feeling to see it again to make sure I had connected all the metaphoric dots creatively laid out for me.

The film weaves and knots a moral tale implying that we are all not only enablers but addicts to something, whether it be drugs, past glory, love, control or freedom. The characters' cracked facades only temporarily protect them from the dangers outside their front door and inside themselves. While leaning on each other, none of the characters ever obtain the help they help they need to "kick the habit" and it is their eventual undoing. It is a sad tale in which everyone looses something, unable to break out of the sweet sickness enabling their self-victimization.

While slow and repetitive at times, the characterizations are humanely broad enough that we see a little of ourselves in each one. The lighting of the film in golden and sunny overtones, the over-the-top silly humor at times, the fair-like set sweetens the bitter lesson this moralistic tale pours for us to swallow. Just as there is no such thing as an American Cowslip, there is no such thing as just an addict out of control.