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 Deborah Kampmeier offers a unique portrait of female adolescence and a challenging exploration of the often prickly relationship between women and Chr ... | Deborah Kampmeier offers a unique portrait of female adolescence and a challenging exploration of the often prickly relationship between women and Christianity in her directorial debut VIRGIN.
Hailing from a Baptist family steeped in the born-again traditions of their religiously conservative small town, emotionally adrift teen Jessie Reynolds (Elisabeth Moss) seeks rebellion through drinking, smoking, and lusting after a boy named Shane (Charles Socarides).
One night Jessie is raped by Shane while in a drunken stupor, and having no memory of the event, comes to believe that her "virgin" pregnancy was caused by a visit from God. But while Jessie comes to an almost rapturous acceptance of her role in the supposed immaculate conception, her family and small town turn against her with the full force of religious wrath. Robin Wright Penn turns in a strong supporting performance as Jessie's fundamentalist mother, but it's Moss who truly excels in capturing her character's deeply conflicted spirituality with a sensitivity that belies her young age.
Set in an unidentified small town where the teenage Jessie (Elisabeth Moss ) is growing up alienated.
Her father (Peter Gerety) is a strict Christian fundamentalist, her mother (Robin Wright Penn) is an anxiety-ridden secret drinker, and her younger sister (Stephanie Gatchet) is a prissy little daddy's girl and gifted athlete who dedicates her victories in local track events to the glory of God.
Her unidentified small town community is similarly disapproving, its narrow-minded inhabitants cautionary tale caricatures. They repeatedly torment Jessie in church each Sunday, trying to make her name the child's father and confess to her obvious sins.
With Virgin, the first-time writer-director Deborah Kampmeier looks into life as an adolescent girl, and in so doing, illuminates interior lives of women of all ages.
Each woman here is in some way fragmented at the hands of the men in their lives: Jessie's mother (Robin Wright Penn) submits wholly to her husband's (Peter Gerety) will, cowed by his thundering voice (he's the local preacher) and resigned to his frequent absences.
Virgin's potential subversion lies in its demonstration of the ways its christian ideals and expectations are literally inscribed on the body of young women.
Yet the film is ultimately hopeful. Jessie survives her small-town torment and her self-confidence ultimately strengthens the women around her.
By the film's conclusion,
Katie's mind opens enough for her to consider the idea that her sister may be a Christ figure, that the child that she is carrying may in fact be holy.
The girls' mother begins to gain some independence from their domineering father, and Frances leaves her abusive relationship. In the final scene, Jessie submerses herself in a pool of water, as if in baptism. Surrounded by dozens of naked followers (souls reborn), her daughter in her arms, she is the center of an image that inspires sympathy for her and the community she's created. |
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4 months ago
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 Writer-director Sean Penn takes the audience with him—to find the poetry in this true-life story of a young man driven over the edge of civilization. ... | Writer-director Sean Penn takes the audience with him—to find the poetry in this true-life story of a young man driven over the edge of civilization.
The film was adapted by Penn from the book by Jon Krakauer, a fine chronicler of the extreme.
Into the Wild represents Penn's most assured and affecting work yet as director and screenwriter, in the wake of The Indian Runner, The Crossing Guard and The Pledge. His connection to Chris is primal.
Emile Hirsch gets so far into Chris' skin that they seem to share the same nerve endings.
Over the film's enveloping two hours and twenty-five minutes, Hirsch gives an award-caliber performance of astonishing depth and humanity
Penn was insistent about shooting the film on the same locations that Chris traveled over two years, after he burned his driver's license and credit cards, gave away $24,000 in savings and set out to find his place in the world without a map.
Penn uses narration from Chris' beloved sister Carine (Jena Malone) to reveal why he cut himself off from his affluent Virginia parents, Walt (William Hurt) and Billie (Marcia Gay Harden). Dubbing himself Alexander Supertramp, Chris lets his wanderlust take him to a South Dakota farm run by Wayne Westerberg (Vince Vaughn), on a scary kayak trip down to Mexico, and to a trailer shared by "rubbertramps"
Penn cuts away from McCandless' steadily deteriorating situation over the next four months with a series of flashbacks, some of which depict McCandless' fraught relationship his parents (Marcia Gay Harden and a fine, understated William Hurt), with whom he was furious for withholding family secrets.
After his graduation, McCandless selfishly punishes them by cutting off all contact. He abandons his car, sneaks onto freight trains, illegally kayaks from the Grand Canyon into Mexico and works at menial jobs before finally hitchhiking to Alaska.
It takes an uncompromising vision to do justice to the story of Christopher McCandless. At 22, he graduated from college and immediately derailed his life and abandoned his family, hitchhiking around the country calling himself Alexander Supertramp, eventually wandering into the Alaskan wilderness on a quest for personal enlightenment.
Though Penn's sympathies lie with McCandless, the director's camera is impassive, and the film's driving intent is to doggedly document rather than celebrate: Look, this happened, then this happened. Whether Penn thinks it startling and amazing quickly becomes beside the point, since McCandless' story is undeniably so, for all the man's faults.
McCandless is a creature of noble intentions and profound thoughtfulness (before dropping out of sight, he donates his life savings to global-hunger charity Oxfam), but also juvenile arrogance and cruel indifference (he sends not so much as a postcard to his family explaining his disappearance). This makes Emile Hirsch's portrayal a delicate balancing act, neither hoisting him by his own petard nor letting him off the hook.
Hirsch seems deeply touched by the character's zeal for his new life, if not always connected to the pain that drove him to it. It's a brave performance, though, and he holds his own against a standout supporting cast, giving us a portrait of a young man searching for the meaning of human existence in places where humans weren't meant to exist.
Superb cinematographer Eric Gautier (The Motorcycle Diaries), captures the majesty and terror of the wilderness in ways that make you catch your breath |
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4 months ago
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1 like this review
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 Virgin Suicides tells the story of the Lisbon family,set in 1970s suburbia,from the point of view of a group of boys living in the same neighborhood. ... | Virgin Suicides tells the story of the Lisbon family,set in 1970s suburbia,from the point of view of a group of boys living in the same neighborhood.
Mr. and Mrs. Lisbon are both sort of boring and normal, but their five daughters, Therese, Mary, Bonnie, Lux and Cecilia are exotic and mysterious...so different from their parents, it's hard to imagine how it happened. The story opens with the suicide of Mary, the last in the "year of the suicides" of the five sisters.
From there, the story starts at the beginning as seen through the eyes of the neighborhood boys and is compiled through heresay, interviews, diary entries, personal contact, and their avid spying.
What is so unique about this story is since it is told from an outside perspective, the answers to many questions remain unanswered, only assumed.This fact of not knowing, of not understanding the whys and the hows of the story, adds an almost surreal quality ...The entire movie looks almost like a dream.
Oranges and browns pervade the movie, and Coppola frequently uses a soft light or hazy camera, giving the scene an ethereal feel. The score is by Air, a French techno group, whose haunting theme Playground Love pervades the entire movie. The movie portrays the five sisters as mysteries.
They share collective secrets between them, which no one else is privy to. All of them seem aloof without being haughty. In particular, Lux Lisbon (Kirsten Dunst) the second youngest, is the most appealing, and the most indifferent towards boys. Mr. and Mrs. Lisbon (James Woods and Kathleen Turner) are partially responsible for this. Mr. Lisbon is a math teacher at the local high school, and Mrs. Lisbon is a homemaker. They are extremely conservative, giving their daughters many rules to follow. The narrator (Giovanni Ribisi), is one of the neighborhood boys, who, twenty-five years later, suspects that those rules may be the reason for the events that followed.
Cecilia (Hanna Hall), the youngest daughter, attempts suicide at the beginning. A psychologist (Danny DeVito ) suggests that the girls have more contact with boys their age.
Mrs. Lisbon is suspicious, but agrees. Local stud Trip Fontaine (Josh Hartnett) attracts the eye of Lux, and they try to begin a relationship under the overprotective eyes of the Lisbons. Their later actions result in Mrs. Lisbon coming down hard and making all the rules stricter.
The boys of the neighborhood can do nothing but watch as the objects of their affection disappear from their eyes. Coppola mixes in equal amounts of serious drama and surprisingly funny humor, resulting from the awkwardness of the Lisbon girls and their parents. The movie is funny because everyone has gone through those same situations in their teenage years.
Woods and Turner give amazing performances far outside their usual roles.
Woods' Mr. Lisbon is a subdued, normal boring math teacher. Small snippets of the usual Woods character sneak out, but nowhere near their usual histrionic levels.
Turner is also subdued, but her Mrs. Lisbon is also harsh when it comes to rules. She afraid to let go of her daughters, and deals with this by making strict rules to keep them, in her opinion, safe from harm.
Dunst also outdoes herself, proving that, aside from the typical brainless teenybopper movie, she can pick a juicy role and act the hell out it. In fact,
The Virgin Suicides can be thought of as a teen movie, although it is light years ahead of the other trash currently multiplying on screens like rabbits. This is the result of meticulous thought and care, and is well worth the effort.
The debut feature from Sofia Coppola (whose father, Francis Ford Coppola, co-produced this film), The Virgin Suicides also features supporting performances from Scott Glenn and Giovanni Ribisi. The film was shown as part of the Directors Fortnight series as the 1999 Cannes Film Festival. |
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4 months ago
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 “I’ll Sleep When I’m Dead” is about two brothers; quite different, but both living in a world of crime. Davey Graham (Jonathon Rhys-Meyers) is a drug ... | “I’ll Sleep When I’m Dead” is about two brothers; quite different, but both living in a world of crime. Davey Graham (Jonathon Rhys-Meyers) is a drug
dealer to rich people (well, rich young women), which also gives him the opportunity to be a thief, when he feels like it.
I'll Sleep When I'm Dead is a thriller about contemporary life, justice and revenge. Will Graham (Clive Owen), a legendary London gangster, has given up the crime life to seek solace in the rural forest-land of North West Wales. His past will always affect him - he hardly sleeps; works without credentials - as he tries to make peace with himself.
His young, womanising, street-smart brother Davey (Jonathan Rhys-Meyers), to whom he's devoted, is a dashing, minor criminal. After scoring a deal and partying late into the night, he's followed home and attacked.
Sensing something is amiss, Will is pulled back to the city. Shocked and distraught, Will's antennae are re-tuned to the rush of London as he begins to investigate the disturbing event.
He seeks the counsel of his former gang-mates, ignites the jealousy of crime boss Turner (Ken Stott), visits the distressed Mrs Bartz (Sylvia Syms), tracks the mysterious Boad (Malcolm McDowell) and rekindles his relationship with Helen (Charlotte Rampling), the wise, romantic restauranteur.
This is Hodges’ follow – up movie to the critically acclaimed Croupier - he also has Owen back on board for this project. Owen plays Will, a reformed London hard - case, who returns to his home turf from a life of country leisure to investigate the circumstances surrounding the suicide of his brother Davey, (Meyers). |
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4 months ago
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1 like this review
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"I shall tell you of William Wallace. Historians from England will say I am a liar, but history is written by those who have hanged heroes. The king o ... | "I shall tell you of William Wallace. Historians from England will say I am a liar, but history is written by those who have hanged heroes. The king of Scotland had died without a son, and the king of England, a cruel pagan known as Edward the Longshanks, claimed the throne of Scotland for himself. Scotland's nobles fought him, and fought each other, over the crown.
So Longshanks invited them to talks of truce - no weapons, one page only. Among the farmers of that shire was Malcolm Wallace, a commoner with his own lands; he had two sons, John and William. "
From the first notes of James Horner's hauntingly beautiful soundtrack and the first sweeping camera shots over the Scottish highlands, blending seamlessly into the pictures of the Scottish riders on their way to the alleged truce talks initiated by Longshanks, and the narrator's,
Robert the Bruce's (Angus MacFadyen's) introduction -
**SEE ABOVE**
- there is no mistaking that this is an epic story, taking up the tradition of the likes of "Spartacus" and "Ben Hur." Like those movies, "Braveheart" is a story of heroism and of having the courage of one's convictions; chronicling the life of its hero from first love to loss, betrayal, battles and final confrontation with his arch-enemy's powers. Like both of them, "Braveheart" won multiple Academy Awards, not least for John Toll's outstanding cinematography. Like "Ben Hur," it also won the coveted awards for "Best Picture" and for "Best Director." And maybe I'm just a sucker for that kind of epos ...
I found Mel Gibson to come across very believable as William Wallace; age difference, Scottish brogue and all. Both his acting and his direction are informed by a clear sense of vision for the movie and its title character. Moreover, although full writing credits went to would-be (?) Wallace descendant Randall W., many little details undeniably show Gibson's hand and mannerisms: to name just a few of the more obvious examples, Wallace's marriage proposal to Murron, his grinning greeting of a group of English soldiers trapped below a cliff, and his response to a doubting Scottish soldier's comment at Sterling that he can't really be Wallace because he's not tall enough.
In addition to John Toll's award winning cinematography, the movie benefits from first-rate production design (Tom Sanders), a score which perfectly captures the mood of every single scene, and a cast of outstanding actors; first and foremost Patrick McGoohan as Longshanks, who portrays the king's utter ruthlessness so convincingly that you completely forget his earlier incarnation as the 1960s' "Danger Man," and who delivers monologues and soliloquies worthy of a Shakespearean king. His musing "but whom shall I send" when plotting to send a messenger to Wallace with another insincere offer of truce, and his chilling announcement of the reinstitution the ius primae noctae because "the trouble with Scotland is that it is full of Scots ... If we can't get them out, we'll breed them out" could have been uttered verbatim by anyone of the Bard's most sinister kings. (Screenwriter Randall Wallace does indeed admit to Shakespeare's direct influence on the script, particularly on Wallace's "Sons of Scotland" speech before the battle of Sterling, which is strongly based on the monologues of King Henry V. at Agincourt).
Equally impressive is Ian Bannen in one of his last roles, starring as Robert the Bruce's leprosy-ridden father and evil spirit, whose first reaction to the tales about Wallace is to deride him ("He has courage; so does a dog"), and who expertly plays on his son's ambivalent feelings, until he finally drives Robert into hating his father for having coaxed him into his own game of scheming and betrayal - whereupon the elder Bruce drily comments: "At last you have learned what it means to hate. Now you are ready to be a king."
Then-newcomer Catherine McCormack stars as Wallace's childhood love Murron, whose scenes with Wallace provide for much-needed tenderness in the first hour of the movie - particularly touching is four year old Murron's gift of a thistle (Scotland's national flower) to orphaned William - and contrast sharply with the bloodshed that follows virtually incessantly from her death onwards. Sophie Marceau matures from teenage party queen ("La Boum") to French Princess Isabelle; Brendan Gleeson stars as Wallace's boyhood friend Hamish, David O'Hara as his heaven-conversing, self-appointed Irish guardian Stephen - one of the movie's most colorful characters - and Brian Cox brings all his extraordinary screen presence to his brief appearance as Wallace's uncle Argyle.
this movie's almost three hours of blood, gore and intense emotions for the first time, I felt as if somebody had given me a fist punch into my stomach. I was so struck that I was almost unable to speak, |
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4 months ago
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An intelligent and lyrical film adaptation of Michael Cunningham's exquisite Pulitzer Prize-winning novel about the ways in which any person's life ca ... | An intelligent and lyrical film adaptation of Michael Cunningham's exquisite Pulitzer Prize-winning novel about the ways in which any person's life can be drastically altered during the course of a seemingly normal day.
The story cuts back and forth between three women's stories: in 1923, novelist Virginia Woolf (Nicole Kidman) is writing her novel "Mrs. Dalloway" while recuperating from a mental breakdown; in 1950's Los Angeles, housewife Laura Brown (Julianne Moore) is reading Woolf's book and feeling a growing sense of desperation about her bland suburban existence; and in 2001 New York, middle-aged Clarissa Vaughan (Meryl Streep) is planning a party to honor a dying friend (Ed Harris) who has referred to her by the nickname "Mrs. Dalloway" since their youthful affair many years previously. Like Cunningham's book, the film spins all three stories simultaneously, pointing out the similarities and differences between each of the women's lives; and then finally ties all three threads together in a spectacularly clever and thought-provoking twist that reveals the larger pattern of the plot (some audiences members in the theatre where I saw the film actually gasped aloud as they began to understand).
As befits such a character-driven film, the acting in "The Hours" is uniformly superb. Meryl Streep is luminous throughout as Clarissa, but particularly shines in her final scenes as she welcomes a stranger into her home; and Julianne Moore brings a fascinating combination of fragility and power to the role of the repressed Laura. Toni Collette infuses her short scenes as Laura's friend and neighbor Kitty with a marvelous counterpoint to Moore's quiet introspection; Miranda Richardson is restrained Victorian perfection as Virginia Woolf's demure sister; and Ed Harris is achingly brilliant in the small but showy role of Clarissa's dying friend.
Among this handful of flawless characterizations, it is Nicole Kidman as Virginia Woolf who nonetheless stands out. She completely disappears into her role; although much comment has been made about Kidman's prosthetic nose and the way it completely changes her appearance, it is not makeup alone which transforms the vivacious actress into the dowdy authoress. Kidman uses her mouth and eyes with incredible economy: her bowed lips move without disturbing her pale, translucent cheeks; and her downturned, darting eyes communicate eloquently her character's sense of uneasy restlessness. Kidman's Virginia seems uncomfortable in her tall body, and her voice is dangerously strained. It's a transcendent performance, and one with which Kidman solidifies her growing reputation as one of her generation's most talented screen actresses.
The film is beautifully photographed in dark, muted hues; the sets appear just as they were described in Cunningham's hauntingly visual novel. While Philip Glass's score is at times a bit obtrusive, it nonetheless contibutes effectively to the atmosphere of the film. The most stunning technical achievement of the film is the wonderful costume design; clothing styles and fabrics have been painstakingly planned and executed, providing some subtle foreshadowing and highlighting of important themes and motifs thoughout the narrative. Costumer Ann Roth should definitely find herself in the running for an Oscar, as should Streep, Moore, Kidman, Harris, director Stephen Daldry, film editor Peter Boyle, and of course, the Picture itself. Altogether, "The Hours" is an outstanding film that provides an extraordinary cast ample and unique opportunities to shine, especially its formidable trio of leading |
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4 months ago
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1 like this review
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Most movies have good guys and bad guys, or at the very least, protagonists and antagonists. You watch the film and you understand who to root for. Th ... | Most movies have good guys and bad guys, or at the very least, protagonists and antagonists. You watch the film and you understand who to root for. This movie does not fit into that category. The characters alternate between being heroes and villains and you're never quite certain who to sympathize with; done properly, this can be compelling, but here, it is a mixed success at best.
The two principal characters are as similar as they are different. Affleck plays a lawyer who has pawned his conscience for a beautiful wife and a nice car; Jackson is an insurance salesman whose alcoholism masks his true problem of a vicious temper. Both are flawed characters and not very likeable, so it is hard to care about either of them. In addition, if either of the characters practiced anything approached true civility, they could have defused the situation (and of course ended the movie).
Both Affleck and Jackson play their parts convincingly, and make it almost believable that a fender bender could lead to such chaos. In the real world however, Banek should have wised up to his work situation from the beginning, and Gipson would have certainly fallen off the wagon. Personally, I could never be charitable to a man who purposely sets out to destroy my family's chance for happiness, or lies about my kids safety, which makes the somewhat neat ending leave a bad taste in my mouth.
The bankruptcy story thread was unconvincing. The highly paid professional just accepting his failure with a shrug off is just not realistic. There are other parts of the movie where the lead characters cause significant damage to office property without repercussions, and some of the support actors tenuously cling to the storyline like afterthoughts.
Considering that this movie is about greed, arrogance, despair, revenge, deceit and blackmail, it does very well to maintain a reasonable entertainment value. The "positive message" comes too late to be of significant redeeming value. |
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4 months ago
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The story revolves around the Creed family and their move from a bustling Chicago suburb to quiet Bangor, Maine, where the father (Louis) starts work ... | The story revolves around the Creed family and their move from a bustling Chicago suburb to quiet Bangor, Maine, where the father (Louis) starts work as a physician. He brings with him his wife and two children (Ellie, a preteen daughter, and Gauge, a preschool boy still in diapers). The house they move into is beautiful with plenty of land for the children to play on, and a nice old neighbor couple across the "road", the Crandalls.
It is this "road" that causes some immediate concern to Louis as Judd Crandall tells him about the deaths of animals caused by the big semi-trucks that blaze down its blacktop.
Judd becomes friends with the family and eventually takes them (or rather is drawn into taking them) on a small path behind the Creed's house that leads to a very special place: the PET SEMATARY. This is the place where most of the animals that'd been killed on the "road" are buried. It's a strange place with concentric circles, the shape the multiple graves make as they are laid out against the well-kept grounds. Louis and Ellie notice a large deadfall tree and Judd warns them not to climb it because it is too dangerous. But there's more to the story than that. What lay beyond the deadfall tree?
PET SEMATARY; they go beyond, over the deadfall, and into a very special place known as the Micmac burial grounds, a place that has existed since the Earth began, and has the power in its soil to bring back the dead. But at what cost?
"Has anyone ever buried a human being back there?" Louis asks Judd. "Don't even think such a thing, Louis!" Judd replies.
Church returns to the living, but is much changed. The cat smells foul, and has a very cold and evil manner about it. But at least Ellie has her cat back, right?
Eventually the "road" takes more than just an animal of the Creed's. In a horrific set of narratives, Mr. King draws us into what might happen if humans were brought back from the dead. What happens to our soul if we're brought back? Does it come with us? Or does it stay on the Micmac grounds? Or perhaps something in-between? |
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4 months ago
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 “Life is an obscure hobo, bumming a ride on the omnibus of art,”
Quite a little gem....especially if you enjoy Corman's humor
... | “Life is an obscure hobo, bumming a ride on the omnibus of art,”
Quite a little gem....especially if you enjoy Corman's humor
A Bucket of Blood Directed by Roger Corman and starring Dick Miller. Walter (Miller) Paisley plays a nerdish waiter at a Bohemian cafei called the Yellow Door Cafe.
This is apparently the cafe where all the town's beatniks, poets, artists, druggies, and civil war enthusiasts hang out. Everyone yells at Walter to clear their table.
Then they turn to their friends to talk about how great being an artist is. This is Corman's satire of what I suppose was the fashion at the time. All Walter wants is to be accepted by these people (for some reason). A long winded poem by the poet Maxwell strikes a cord with Walter. So he goes back to his apartment to cook some beans and try working with some clay. Apparently Walter cannot multitask. He hears the nosy landlady's cat in the wall, puts down the clay, tries to find the cat, realizes it is in the wall and tries to cut it out with a knife. He stabs the cat, gets it out of the wall, freaks out, burns the beans, hits his head, then wraps the cat in clay. Wah-lah a sculpture called Dead Cat.
This is a cult classic quirky somewhat dark comedy horror
Walter Paisley, nerdish waiter at a Bohemian cafe, is jealous of the talent (and popularity) of its various artistic regulars.
But after accidentally killing his landlady's cat and covering the body in plaster to hide the evidence, he is acclaimed as a brilliant sculptor - but his new-found friends want to see more of his work. Lacking any artistic talent whatsoever, Walter has to resort to similar methods to produce new work, and soon people start mysteriously disappearing... |
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4 months ago
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Johnny Depp, Leonardo Dicaprio and Juliette Lewis star in this story of a young man ,his mentally disabled brother, and the woman who helps him get hi ... | Johnny Depp, Leonardo Dicaprio and Juliette Lewis star in this story of a young man ,his mentally disabled brother, and the woman who helps him get his act together.
Lasse Hallstrom is the directer and Leonardo DiCaprio, received an Academy Award nomination for his role,as Arnie, Gilbert's retarded teenage brother
.A prisoner of his dysfunctional family's broken dreams in tiny Endora, Iowa
This story is centered around the Grape family;Ellen and Amy and their two brothers Arnie and Gilbert, who, along with their morbidly obese widowed mother Bonnie Grape are striving to survive and coexist with the absence of a father figure, low wage work and the problems that surface with seventeen-year-old Arnie's severe mental condition
Gilbert (Depp) serves as breadwinner and caretaker for his mother and siblings following his father's suicide and his older brother's defection. Momma (Darlene Cates) is a shut-in who hasn't left the house in seven years since her husband committed suicide; her children include retarded Arnie (DiCaprio), who's about to turn 18 despite a host of negative medical forecasts, and terminally embarrassed Ellen (Mary Kate Schellhardt), who's emerging from an awkward adolescence.
When he's not taking care of the difficult but tender Arnie, Gilbert spends his time fixing up the family's tattered farmhouse, working at a failing mom-and-pop grocery store and hanging with local misfits Bobby (Crispin Glover), an overly ambitious junior undertaker, and Tucker (John C. Reilly), a handyman who hankers after a job at the new burger franchise.Gilbert's social life is taken up with a random affair with a frustrated and reckless housewife (Mary Steenburgen).
A young man trapped in a small town has to choose between escape, and his duty to his family.
Then Becky walks into his life (Juliette Lewis), a thoughtful young woman who's been escorting her nomadic grandmother from state to state in a mobile-home caravan. As Becky teaches Gilbert to finally consider his own happiness for a change. |
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4 months ago
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