La Couleur du crime

This movie was better than people give it credit for. I thought I was in for an average flick, but I was pleasantly surprised. And no, I don't mean that you couldn't figure out the gist of the plot, but it was well done, especially the scores. The music really made the film. Julianne Moore delivered an accurate ex-drug-addicted, scattered person, and Samuel l. Jackson was right-on. I'd recommend this film to anyone who has an open mind. This film is probably a lot closer to reality than people would like to think, that's what makes it good. No, it is not a smash 'em up Hollywood style action/suspense film, but it was good nonetheless.

Julianne Moore is looking for a child again, but this time it's real time, hardscrabble New Jersey projects rather than the mind of a perplexing mom (Forgotten, 2004). Moore plays Brenda Martin, who claims to have lost her son to a carjacker who absconded with her son sleeping in the back seat? Veteran detective Lorenzo Council is indeed the counseling type whose patience with the ranting Martin wears thin as he suspects lies among her details of the abduction.

Director Joe Roth seems to be more interested in the racial combustion inherent in the situation. In fact, he goes to lengths to show white police confronting black protesters, who are rightfully furious at the support for the disappearance of one white child when many more black missing children barely cause a ripple. Roth doesn't let it all go too deeply into contemporary racial politics while by comparison he gives ample time for Council to ruminate on his responsibility for his son's incarceration for armed robbery. Even the conflict between Martin's cop brother's desire for revenge and Council's attempts to keep his blue-collar burb of Gannon out of the project is underdeveloped, apparently left among the editing ruins.

A nice touch is the presence of a volunteer group looking for missing children, headed by Edie Falco's Karen Collucci, who has a missing child for 10 years. The group offers a sane oasis amid the fire of the social tensions, and Collucci offers advice and insight far ahead of any smart detective's. Falco upstages Jackson with a gritty sincerity and cool that could win her mayor of Manhattan if she so wished.

Freedomland turns on social tension but never gives it a chance to flourish. The issues are lost like the child among too much Martin moaning

First mistake of this film was marketing (after all, it's all about marketing) Billing it as a thriller/action movie with some paranormal slant was wrong. This is strictly a psychological drama with zero paranormal stuff in it.

Second mistake was to make reality too real and not idealized or artistic to stay away of the touchy issues addressed: Race, police prejudice, social differences.

So if you went to the movie theater or the rental place to watch a thrilling action film staying right on the surface of entertainment and shock value, you will be disappointed. This is a nicely acted, well constructed and most importantly, realistic drama in which a white woman blames the kidnap of her son as a carjack conducted by an African-American male.

As far as I am concern, there was no stereotyping, just realism. There was no siding on the moralistic virtues of one or other side. Actually, this is a quite profound exploration of the reasons to lie, the be racist, to fear prejudice and to resist the fact that a social interaction between poor and rich, white and black, civilian and policemen will probably be fair in a near future… not now.

My only concern was to see Ms. Moore so stressed during 90% of the film, quite impressive performance. Just hope she doesn't take this as her type-cast.

I have always been a fan of Samuel L. Jackson (Shaft, The Long Kiss Goodnight, Pulp Fiction), and do not miss a chance to see his films.

Yes, there are some major errors in this film. How come local cops are handling a kidnapping? Why didn't they look for the car? Hello, fingerprints? However, those can be ignored to focus on what this film really is. Like Crash, it is a study of racist cops and how they treat minorities differently that whites. It doesn't matter that Jackson is a black cop. he is not in control of the power. It is also a story of how cops start race riots. There have been at least 15 reported incidents in one year alone (1967) of cops starting race riots.

The film also stars Julianne Moore (The Hours, Boogie Nights) and Edie Falco (The Sopranos).

This movie was a real disappointment to me. All the elements for a fine picture were here. Good story, good actors. Sadly, the picture was not put together well. First blame should go to the director who was not able to restrict himself to the story lines he would be able to tell effectively. Next to blame is also the director who edited the film with superfluous characters and dead end plot lines. Several very good acting performances were squandered in this mishmash. Julliene Moore and Samuel L. were great (As always). Ron Eldard is a favorite of mine. He never gets the romantic lead, but provides great dramatic wallop. Unfortunately his character had nothing to do with the story. Typically, the scene where he overhears the confession of Billy is meaningless, nothing comes of it and his character disappears afterward. I'm not sure this was even a good try. Save your money.