3 Backyards

So... no prizes for guessing that '3 Backyards' did indeed also bore me to tears too. The contrasting reviews here are interesting: there are those which praise the gentle tones and sensitive depictions etc. of real 'non-Hollywood' life. And then, there are those reviews which most artfully hit the nail on its proverbial head: the movie is boring, self indulgent, and stretches the limits of one's concentration span just to get from scene to scene - never mind to the movie's end! While watching this movie, I was reminded of sitting at a table in a restaurant which is sited inches too near to the next table, while my infinitely more interesting companion is late. Thus, I must be forced for a certain period to listen to the most gruesomely banal conversation, leaking from the suited bores beside me; that is to say, people who couldn't string one original idea together - if their very lives depended on doing so. Alas, the screenplay writer from this movie must've learned much from folk none too dissimilar to those nondescript inanities, sitting beside me then - because this movie lacks even half of a moment's worth of brilliance.

A miserably boring, exercise in futility. "2/10", is its true rating, this reviewer declares, and not "1/10" - solely because the production and acting were not at all bad. Watch this movie if you must, and if only to know how an arty movie can also fail to engage its audience. Gladly, I very much know that not all Art movies are as boring as 3 Backyards, for I'm no 'Trashformers' fan!

Eric Mendelsohn is a new name in the movie industry. He both wrote and directed this very quiet little film that for many will be a frustrating sense of on linear storytelling or it could be criticized for having no story at all. It is a a mood piece, an isolated day somewhere on Long Island where we meet three different characters in unrelated situations except that each character unveils an aspect of humanity that is as quietly real as is unnoticed. Somehow the result of seeing these three stories leaves the audience feeling more fragile and more vulnerable, as though someone knows some of the secrets that hide in each of us.

The film opens at 3:30 in the morning with John (Elias Koteas) sitting at a table opposite his asleep wife (Kathryn Erbe). In silence John packs his suitcase, looks lovingly at his asleep daughter, and as he is quietly leaving the house his wife confronts him with his lack of communication: we are observing a marriage that is failing. John is leaving for a business trip but his flight is cancelled and rescheduled for the next day. John decides to accept the airline's offer stay over in the airport hotel and while checking in he sees a young African woman in a blue dress (Danai Gurira) being turned away when she asks for employment. John checks in and then walks to a diner where he again encounters the African girl applying for a job as a waitress: she is dismissed and yet leaves a tip for the grouchy waitress (Pam La Testa) who has mistreated her. John at first ignores the situation then a note of empathy strikes and he follows the girl with the idea of giving her some much needed money. A tragedy occurs and John's sensitivity is changed and we see him meeting his wife in a parking lot.

Simultaneously a young girl Christina (Rachel Resheff) is playing with her mother's birthday present (a gold charm bracelet) when her school bus arrives and, missing it and unable to get the bracelet off, she takes a short cut through a yard, seeing signs on trees for a missing poodle, and encounters a young man in an embarrassing situation and she runs to school. At school she realizes her charm bracelet is not on her arm. After school she retraces her steps, finds the lost poodle, and again encounters the mysterious young man who has found the bracelet and Christina is able to retrieve it, frustrated about her actions and about the fact that the bracelet is not hers to keep.

And at the same time a friendly neighborhood painter Peggy (Edie Falco) is asked by a new neighbor, the actress (Embeth Davidtz) to take her to the ferry. The actress is a stranger and on the way to the ferry the excited Peggy tries to become a friend but discovers that actress is a solitary women who breaks down in tears. Despite Peggy's need to be a should to cry on the actress treats her with distance, leaving Peggy without her dream of getting to know another world and being hurt at being dismissed.

Each of these seemingly meaningless stories carries an afterburn that is so subtle that the messages may be missed. But these are coincidences that are unexpected and have a brief life of their own and then end abruptly. The film leaves the viewer with a lot of food for thought about how happenstance our lives can seem. It is a very small film, enhanced by a lovely musical score by Michael Nicholas and written and directed with uncanny sensitivity and subtlety.

Grady Harp

It is said that "Seinfeld" was a show about nothing. This is a movie about nothing.

Another way to look at this movie is to see it as three separate short films. I have seen several hour-long shows on TV which consisted of several short films, some of which looked good enough to be Oscar-nominated. Each of these films might have been that good. It appears all three of the main characters lives in the same suburban neighborhood.

Whether you enjoy this movie or not depends on how open you are to independent films that have artistic value. I can be, though whether I would be depends on what they are like. This movie happens to be accessible to me, with plot lines I can get interested in. Still, this seems to be nothing more than a day in the life of three people in one town. For two of the people, it is not a typical day. And for those two people, I find myself quite interested in seeing what the result will be. But I get to the end and find myself not quite satisfied. I have to be content with the journey, and not having paid, I can be satisfied just with a a part of what I just saw. I enjoyed Christina's story the most but am not quite sure what it was.

I did see at least three really good acting performances, though all the leading actors did well too. Edie Falco reminded me of Ellen DeGeneres, though not quite that perky The short hair helped. Then there is the waitress with the attitude at the diner. But the standout performer may just have been the woman in the blue dress.

Is it worth it? Maybe.

... but, obviously, not everyone's.

If you appreciate excellent acting, beautiful cinematography and don't need to be spoon-fed a message or hung up on plot, this may be a film for you.

It is daringly ambitious in that the dialog is almost non-existent, leaving the entire weight of the film in the hands of the actors and the camera and the soundtrack — and, of course, the director. All succeed marvelously as three day-in-a-life stories are laid out, each with nervous overtones and unique tension.

Searching for a unifying theme is a Rorschach test; you will make of it what you will. The inability of people to communicate on a personal level — or any level at all, for that matter — can lead to all sorts of unintended consequences, as you will see. I thought Edie Falco's acting was a bit blunt, but Elias Koteas's performance is marvelous. Embeth Davidtz conveys the most amount of mystery with the fewest amount of words — acting at its finest.

It is a wonderfully modern, realistic film, with the majority of the spoken words coming over a phone and conclusions largely unresolved. Still, I was engaged for every one of its 88 minutes. It's been a long time since a film held me so tightly.

I found this beautifully crafted movie a welcome relief from most of what's out there these days, both from big Hollywood blockbusters and pretentious, shticky indie films.

I was amazed at the depth and power of these very small stories. For me, it's all about the power of film working on every level, like a perfectly orchestrated piece of art. I thought about it for days after seeing it.

There is just something so haunting and beautiful about 3 Backyards, like a poem or a short story. And technically it's just a wonder. The word "impeccable" keeps coming to mind: impeccably acted, impeccably shot, impeccably scored, impeccably directed.

It's a very grownup, sophisticated movie. It reminded me a lot of a 70s movie.

Definitely one of my favorites of the last few years. I hope it gets seen beyond New York City.