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Fast becoming a festival favorite is one of my long time favorites, Ashley Judd. With two films in the Fest, both are must sees. First up is COME EARLY MORNING. Debuting at the Fest and opening in limited release on No vember 10, 2006, this is the story of a young Southern woman named Lucy. Fraught with fear of relationships, a contractor by day, she is committed to drunken onenight stands at night, often waking up not knowing where she is or who she is with. Written and directed by Joey Lauren Adams, in her directorial debut, Adams draws from her own experiences growing up in the South. And while the film touches on Southern sensibilities, it has something that will connect with everyone from or familiar with rural and small town America. The film as a whole not only reminded me of my own visits down South to Omaha, Georgia with my beloved devoutly religiously aunt and her pink doublewide trailer, but it also connected with little towns like Browns Mills, New Jersey.
Believable to a fault. The dialogue is right on point with the time, the era and the Southern lifestyle. Yet, the story is one that everyone can relate to in some fashion.
The cast is outstanding. Ashley Judd is the epitome of emotion and no one plays a strongwilled woman with an innocent vulnerability better than she. She does the slutty aspect of the character well, too, although I thought that emotion and portrayal was a bit too similar to that of her character in “Twisted.” Diane Ladd steps in as Lucy’s grandmother and is, of course, wonderful with her down home sarcastic wit while veteran Pat Corley takes the reins as Lucy’s grandfather. Not to be outdone, Adams even wrangled Stacy Keach to come on board as Lucy’s boss, Owen. Rock solid, Keach’s turn as Owen bodes well as a calming influence and beacon of light to Judd's Lucy. It was also a joy to see Scott Wilson as Lowell Fowler. Probably best known of late as casino owner Sam Braun on “CSI”, his turn her as Lucy’s father Lowell is a side of Wilson not that familiar to us. And why haven't we heard more from Jeffrey Donovan? As love interest Cal, he is the exemplification of every Southern mother's dream of a genteel polite young man that is until the tables turn and personality reversals and growth take sha pe.
Although a bit tedious at points, I can understand Adam’s choices in her direction and pacing. While it bodes well with the theme of the film, some may get a bit antsy with some of the more drawn out sequences. A beautiful character study acted superbly, COME EARLY MORNING is an uplifting winner.
Another American Directions contender is FULL GROWN MEN. Directed by David Munro and written by Munro and Xandra Castleton, this is the story of Alby, a 38 year old who seems to have contracted that “disease” running rampant among the 3040 something men of America today going beyond nostalgia, and even beyond the Peter Pan phenomena, this is a never grow up situation that entails physically growing up, marrying, getting a job (for some), having kids, the house, the two cars, but doing so as merely going through the motions without the emotional conceptualization of what growing up or life itself entail; and often with disastrous consequences. Lucky for us, Munro captures it all but with a zany fun perspective.
Enjoyable, funny, believable, and although it has serious (and very true) undertones, is hopeful, upbeat and "connectable" to everyone. Taking his collection of pristine action figures with him, Alby runs away from home and goes back to his mother who suffers from Alzheimer’s. Determined to stay a child forever, he leaves his wife and young son (aka playmate) seeking sanctuary at his childhood home.
Completely morphing into his childlike self, Alby seeks comfort in his “best friend in the whole world” Elias. One little thing Elias is now a teacher, grown up, accepting responsibility, embracing responsibility. Life, and Elias, have moved on. But, Alby sparks something in Elias that has him yearn for a little bit of the boy he once was and it’s not long before the two are on the road to Diggityland Elias to get a Teacher of the Year Award and Alby, well, just to goof off and hide. Needless to say, their adventures along the way prove to be some valuable lie lessons for them both.
Set in South Florida, a more ideal location, Munro could not have selected. Long having an image as being a playground for retirees and springer breakers alike, this is the perfect playground for Alby. Visually, the film is more than effective. With retirees giving Alby some sage advice that isn't done in a preachy manner, maturity rears its ugly head with a sweet kindness. You can’t help but laugh at these old geezers riding around on bikes in their shorts and socks with sandals, goofy hats on their heads, etc., which just goes to further perpetuate the theme of the film and if Alby (and the audience) looks hard enough, gives some insight into what the future will be like if he doesn't get with the program and act 38 instead of 8. This is one of the few films I have seen the past month or so (and based on what's releasing in the next 60 days) that actually doesn't leave you depressed or suffering from the doldrums when the credits finish.
Matt McGrath stars as Alby. I first took notice of him in “The Notorious Bettie Page” but I must say, I am more than impressed with him here as Alby. Complimenting McGrath’s juvenality is Judah Friedlander who is joyous as Elias. His interpretation of the character really aids in setting forth the juxtaposition and dichotomy of the lives and mentalities between the two. And pay special attention for two casting coups - Alan Cumming and Deborah Harry are absolute flashes of brilliance for casting ....Alan Cumming equating the little toy solider action figures come to life and Deborah Harry as the Little Mermaid or Barbie as a female connective of playing with dolls. And the nostalgic value of Deborah Harry great!
The icing on the cake is comic animation at the end that is absolutely adorable and so befitting the film. Nice touch by Munro.
I was dying to see this film and am so glad I did. It proved to be even more than I hoped. Witty, wise and wacky!!
Festivals and Lukas Haas seem to go hand in hand. From Gus Van Sant’s “Last Days” to Derek Sieg’s “Swedish Auto”, Lukas is a familiar and welcome face on the festival circuit. Charming, polite, talented, diverse, I  know going in that a film with Lukas Haas will be a winner. And WHO LOVES THE SUN is no different.
Lukas Haas plays Will Morrison. A loner, Will returns to his childhood home after a mysterious absence of over years. After walking in on best friend David and his wife Maggie, will disappeared. Just as strange as his disappearance, however, is his reappearance when out of the blue he appears, intent on “surprising” his Daniel. Seems in the past few years, Daniel has made quite a name for himself. With a best selling novel and steady income writing for a New York magazine, David is the toast of the town. Will, however, is still a loner with a lost sadness about him.
The acting is first rate. Full bodied, realistic and sincerely wicked at times, be it Haas or Adam Scott as Will’s foil Daniel Bloom or Wendy Crewson as Daniel’s wife Mary, they all shine. Haas is impeccable and with his own patented brand of inner brooding, keeps the audience - and the characters - on their toes, guessing who and what he is all about. And as he always seems to do, he effortlessly grows and transforms the character right before your eyes. Lukas is always compelling and interesting to watch. Crewson, perhaps best known from her days as Tim Allen’s wife in “The Santa Claus” is magnificent. But it is Molly Parker as Will’s ex that steals the show.
Written and directed by Matt Bissonnette, there is a dry irony and subtlety wielded rapier wit to the story that permeates the characters. Well known to the indie crowd, cinematographer Arthur E. Cooper gives the film a lushness that befits the rustic woodsy setting and gives the film a visually pleasing fluidity that ebbs and flows with the story.
Sweet and touching with a razor wit, you can’t help but love WHO LOVES THE SUN.
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