William Vincent

There will likely be a small audience for this artistic little cinematic treasure SHADOWS AND LIES, but while the audiences crowd in line for the multi-million dollar retreads of comic book heroes and potty mouth 'guy or chick flicks' it is reassuring that there are experimentalists like writer/director/editor Jay Anania and his pupil, the multi-talented James Franco who continue to push the edge of cinema and create the challenges of this jewel-like film.

Anania opens his film with a dark in medias res raw episode that quickly moves to an image of Joseph (James Franco) missing his flight to Japan because he steps out of line to retrieve a book. The plane crashes, killing everyone on board, and that opens the doors for Joseph to move to Manhattan to have a new life: he becomes William Vincent, a strange loner/drifter who has a job editing nature films for schools in a sparse storefront abode and also performs petty crimes. What gradually becomes apparent is that we maybe re-visiting what happened four years ago: William Vincent, a quiet and mysterious criminal, falls for a New York gangster's (Josh Lucas) favorite call girl Ann (Julianne Nicholson), after performing some 'deliveries' arranged by one Victor (Martin Donavan). When William's feelings are discovered Vincent is forced to flee the city, threatened with death if he should ever return. But after four years in exile (? in Japan), William secretly returns to rescue Ann from the life of derision and fear she is leading. There are quirky moments in the film where William is in the park and 'sees and talks to' two young brothers - Ty and Lewis played by Ty and Lewis Anania - who may simply be a part of William's previous existence as Joseph. But it is this very disturbing interchange of time sequences that makes the film so powerful - are we watching the now or are we watching the then, and if we are seeing the past, how does the ending make sense? Another observer states it this way: 'The story of William Vincent as he recounts the eccentric and curious path that has brought him, at mortal risk, to New York City, after four years in exile, to rescue a woman he scarcely knows, Ann, from the vague crime syndicate that first brought them together.'

Franco is disturbingly brilliant as this strange character Joseph/William and the scenes that simply sit in silence with Franco barely outlined by terrific lighting effects or interacting in spare dialogue with Ann or Victor or the Boss are visually and emotionally stunning. The cinematography by Daniel Vecchione is moody, dark and always appropriate in adding mystery to the story. John Medeski's musical score is primarily a few piano notes and the wheezing sounds of an odd organ (melodica) instrument played by a street person. It all simply works as a brilliant film. Some may label this 'film noir': it is more like experimental 'noir film noir' at every level.

Grady Harp

'SHADOWS & LIES': Two Stars (Out of Five)

James Franco stars in this unbelievably slow and uneventful artsy indie film about a man trying to free the woman he thinks he loves from a New York City organized crime syndicate. It's written and directed by Jay Anania who was one of Franco's teachers at New York University. The film also features Josh Lucas, Martin Donovan and Julianne Nicholson. It's the perfect example of too much style over substance.

In the movie Franco plays a small time crook named William Vincent who picks people's pockets and often throws it away. He draws the attention of a local New York City drug runner (Lucas) who is impressed by his skills and apparent lack of humanity. He offers William a job and then a night with his woman, Ann (Julianne Nicholson). William falls for Ann, even though he knows nothing about her, and this of course causes complications with his new employer.

The movie is extremely slow paced and very moody. There's very little dialogue and the film is instead content with just giving the viewer long camera shots of the actor's blank faces (mostly Franco). If you're a big fan of Franco and into his looks this might be enough for you but most others will be extremely bored. The directing is kind of cool, the cinematography is beautiful and the music striking but the screenplay is so poorly written. Nothing much ever happens, we learn almost nothing about any of the characters and as a result the film seems very pointless. It starts promising, it's beautiful to look at and it's nice to see Franco taking some different projects but he's not given anything really to work with here. The movie is almost a total waste of time with nothing to offer anyone except some nice photography and some long mug shots for die-hard fans of prettyboy Franco.

Watch our review show 'MOVIE TALK' at: http://www.youtube.com/watch?v=Nse6Wm1EtZU

"When you need me to do something, you ask, I assume this is how this works." After a man called "William" (Franco) get caught lifting a stranger's cell phone, he gets recruited by the local mob boss (Lucas). While being asked to do simple little jobs "William" meets a beautiful woman, and his life changes. Going in I was expecting more of a gangster movie then this. Most of the movie consists of "William" walking around to voice over. This is a very, very slow moving movie, that in a few places seems to go nowhere. It is not a bad movie, but it has the feel of a foreign/art house type movie, and most people are not into this type of thing. If you are looking for an absolutely independent movie with big actors this is what you are looking for. If you want a great gangster movie full of action, this is not it. I would call it a little like "Public Enemies" without all the action sequences. Not that bad, not that good. I give it a C.

Would I watch again? - I don't think I will

This film is a tragedy in its truest sense: tragedy in dramaturgy is sometimes defined as "potential not realized". With this great cast and crew, this director & producers should be shot for making the film stock worth so much more before it was shot.

James Franco is too good an actor to be used, misused and abused in a film like this. His teacher should not have cashed the favor on this film.

The only thing that is more boring, than the boring life of the main character, is the film itself. Telling the story of a boring character does not have to be boring. This film does not know the difference.

The ultimate irony lies in the fact that Franco plays a "film editor" -- this film if edited correctly could perhaps make an interesting 15 minute thriller -- and I am being generous.

This is a movie that is beautiful with photography and that is the only positive thing I can say about it.

This film could have been great with the cast it has. James Franco does a great job of the brooding, James Dean like character. Josh Lucas as the dark, controlling bad guy is very good. Freckled Julianne Nelson is beautiful as the femme fatale, but the director seems to be attempting to imitate a good french movie but just fails.

If you like minutes long scenes of an actor's face, a room, an actor walking, you might enjoy this film. If it was condensed to a half hour drama, it might be great. Otherwise, it is not worth the time.