Lost in the Sun

I highly recommend this movie.

Great direction, acting and cinematography.

If you ever wonder where all the good movies have gone, I think the answer is Independent films. Unbridled by the big studios, Independents still churn out great films. Not all of them, but you can definitely count this as one of them.

The dialog and acting, especially by young Josh Wiggins, is superb. Josh Duhamel is a hidden gem as far as lead actors go. He does not disappoint.

If you want a great 'feel good' movie - with heart, great direction, cinematography, dialog and acting - look no further than "Lost in the Sun".

Stumbled across this gem. Superbly crafted, fabulous cinematography, brilliant casting and great performances from everyone. Outstanding locations. The expansive angles capture the southern mid-west perfectly.

Characters are rich and absorbing, even those who only feature for a few moments.

The only thing that lets it down is the script, which is a little predictable, but does have the occasional surprise. But the excellent acting carries it off, and for me it's still 8 out of 10.

If you enjoy watching a truly well made film, you'll love this one.

I watched this one tonight and was pleasantly surprised. As I had never heard of this movie, I didn't expect much . . . but I ended up being moved enough by the film to write a review on this Saturday night.

The movie is about a boy whose mother has just died. He is going to live with his grandparents in New Mexico and a mysterious stranger offers to give him a ride. Of course, he has no idea what he is in for by accepting the offer and a fascinating "road trip/coming of age" story ensues (with a few surprises toward the end).

I hate long reviews, so let's get to it: I grew up in Texas and the locations used by the director are lonesome and add great authenticity to the movie. The directing was above average by Trey Nelson (who appears to be primarily a TV guy until this film) and I thought the acting was excellent by Josh and especially Josh Wiggins as Louis.

This is a pretty good film if you are in the mood for a lonesome road movie. 7/10 cheers

Petty criminal John (Josh Duhamel) goes into a gas station and the clerk pulls a gun on him. One week earlier, he gives Louis a ride to his grandparents after his mother's funeral. John pulls a bunch of holdups. They pick up Mary (Lynn Collins) and Rose along the way.

It's kind of a mumblecore crime spree road trip indie. It's not that interesting until the first escape where Louis has to get air. I don't get the situation where they first get together. It's unmotivated until the reveal much later. It leaves the movie feeling rambling at times. It's still questionable why Louis would leave a perfectly fine bus for a ride with a stranger. It's basic stranger danger. Duhamel is barely able to fill the screen by himself and the boy isn't that helpful. There are a few interesting moments but it is lackluster overall. It needs more to tie the reveal into something more poignant. It needs to convince me why the kid would follow a guy he never met before. It would be easier if he's simply hitchhiking and John picks him up.

Except for the gun propping up the story, good - very good - in a European film melancholy joie de vivre, Francois Truffaut, or "Paris, Texas," kind of way. I'm reviewing it because it's quite good. If I'm still remembering it the next day, it was noteworthy. That's in no small measure a credit to excellent photography by Robert Barocci. I'll just say, the story could easily have been written without a gun - 'cuz that's my soapbox. Guns in films are so prevalent, there should be an Oscar for the guns.

The character played by Josh Duhamel isn't very deep, and is kind of an unredeemable punk, but that's the way the character was supposed to be played. Josh Wiggens is excellent in his role as the orphaned boy. The pair are a credible duo. I never thought for a second that the characters were Hollywood contrivances. A lot of critics thought the characters and story were too thin to carry a full-length feature. I disagree. It's a wretched tendency that U.S. filmmakers have of tending toward clobbering audiences with action or sentiment. The characters unfold in a quiet way through their gestures and appearances, as in a Cormac McCarthy novel.

A great haunting score by Daniel Hart is appropriate for the film and plays an unmistakably powerful role in accenting the drama, but I have to admit I'm a bit weary of the rock strings Godspeed You Black Emperor/Explosions in the Sky copycat genre, not because I don't like it, but because it offends my sensibilities that it's been beaten from overuse into flattened roadkill at the edge of a highway. Nevertheless, it's essential to under-girding this drama.

The score's performers got dropped into the post-production credits, I hate to say, because they carried the film through the longer ponderous landscape moments - carried the film more than, say, the hair artists. I looked them up, 'cuz that's how I rolls: Shawna Hamilton (cello), Borak Loftipour (percussion), Veronica Gan (violin), Maria Demus (violin), Annika Donnen (violin). These all seem to be musicians trying to get their footing in the business - all in Texas, I think - maybe Denton.

http://www.imdb.com/title/tt3593046/