Time Out of Mind

It's a simple and at the same time complicated film. Complicated to decipher the message that wants to convey through the language of the shots. Simple for the description and development of the character George who tries to restore a natural relationship with his daughter who has not seen for years and to describe his being and his consequent precarious and disadvantaged social condition. A completely atypical and passive acting as well as being completely categorical and absolutely empathic. The film certainly could be boring because the average viewer is used to a faster pace and a more active and active atmosphere, but the message he wants to bring is completely unique and different from the usual, which justifies him absolutely and certainly that it is not a film recommended to everyone.

Richard Gere is an amazing, but underestimated actor. Once again, he gives a great performance as George, a homeless man who "lost" ten years of his life. His story is realistic, because the reasons of his demise are not extraordinary.

George had financial problems, but the loss of his wife and being left with a young daughter pushed him beyond the boundaries that separate an ordinary life from a life in the street.

Like many homeless people, George wanders aimlessly, the lack of purpose of his life being the key issue. He tries to keep in touch with his daughter who despises him, but also feels sorry.

George also lost his documents and his weak attempts to start again a normal life are hindered by his lack of ID. A fellow homeless guy tries to help him, but their friendship is difficult because of their opposite personalities (and personality disorders).

Definitely melancholic, but worth a watch. Allegedly, Gere walked the streets of New York in character and nobody recognised him as the famous actor. But not only the physical appearance is spot on, the whole performance is, just as well.

One time I visited San Francisco as a tourist, and the one thing that stroke me about that city was the big number of homeless people asking for money everywhere. I thought: how is this possible in one of the richest cities of the world?? Somebody told me that they are all mentally ill people, but I doubted... isn't it maybe that they just can't or don't want to find a job? I would rather believe in this explanation, because I couldn't grasp mental illness at the level where you prefer to be sleeping in the streets and wandering around instead of getting the simplest job to live with dignity.

Time Out Of Mind made me understand it. I see now that there probably is a large part of homeless people (specially those that remain in that status for a long time) whose main problem is mental sickness, not lack of skills or will.

The main character (George) is a mentally troubled old man. He has been homeless for 10 years and he is "fucked up" in his own words. The only relative he has in this world is a daughter who he loves but can't connect with because of his own mind.

The style of the film is very passive, to the point some people think there is no story in the movie, but that is not true, it just happens very smoothly.

The movie is about a delusional man who tries to overcome his own mind to be able to regain his daughter, who is about to leave the city. It contains an interesting message, and a beautiful story if you don't miss it (hint: try to figure out who is real and who is fictional in the movie).

I rate it with 8/10 because I think the movie could have been clearer/more direct without sacrificing its good parts. It could have been more explicit in the climax, more evident, and still keep the realistic portrait of the mentally ill homeless.

Greetings again from the darkness. Poverty, mental illness and homelessness collide in this film from writer/director Oren Moverman (Oscar nominated for The Messenger). About the third time I asked myself if something was ever going to "happen", it dawned on me that it was already happening. This is Moverman's illumination of how society treats the homeless, and his vehicle comes in the surprising form of Richard Gere.

We follow George (Gere, making good use of his familiar facial tics and mannerisms) around the city as he bounces from vacant apartment to hospital to churches to second hand clothing stores … and finally to one of the city's homeless shelters. It's at this point where George befriends the talkative and seemingly helpful Dixon, played by the great Ben Vereen.

One of the key points the film makes is how the homeless are basically invisible to the rest of society. The characters describe this as being a cartoon – meaning, they aren't even "real" people to the masses of NYC. Supposedly, Gere was in character on the streets and was passed by without anyone noticing. Vereen's character helps George get on track for re-establishing his identity. See, without any form of ID, there is no welfare, food stamps, etc (except, of course, voting – a topic for another time). The only real sub-plot involves George and his estranged daughter played by the always excellent Jena Malone. She excels in her scenes with Gere, and provides the most sincere and affecting emotion in the film.

It's a very odd movie, as there are numerous "quick hit" scenes that feature such fine actors as Steve Buscemi, Michael Kenneth Williams, Kyra Sedgwick, Geraldine Hughes, and Jeremy Strong. None are on screen for much time, but each help demonstrate the daily challenges faced by the homeless who are so dependent on the charity of others.

It takes a patient viewer to stick with Gere's character as he comes to grips with his situation, but the camera work shooting inside/out and outside/in (through windows, doors, etc) provides visual interest, as do the lively and real sounds and movements of the streets of NYC. It may not pack the punch of The Messenger, but it's further proof that Oren Moverman's insightful projects deserve attention.

George (Richard Gere) is homeless in New York. He gets kicked out of Sheila's apartment by Art (Steve Buscemi) and his workers. He is sleeping on the streets, and hanging out at the hospital as he tries to navigate the system. He stays at a shelter. On the streets, he's accosted by Dixon (Ben Vereen) who befriends him. He is estranged from his daughter Maggie (Jena Malone).

It's a mostly reserved performance. Gere basically disappears into this role. In some scenes, he fades into the background. It's a really compelling idea of the modern untouchables. There isn't much of a dramatic story as he drifts from one scene to the next. There are some memorable moments like the crazy guy in the next bunk in the shelter. The movie is unnecessarily long. One could get the same points in something with thirty minutes less.