Brothers Three: An American Gothic

a film with great potential and interesting subject. but nothing more. and it is not easy to define the error because all seems be only a crazy trip. the flash - backs, the dialogs, the fear of director to introduce a form of order, impression of improvisation, good intentions of actors and the gray atmosphere, the middle way between theater play and film, influences as spider web are pieces who makes the film almost confuse, an experiment with a too long title and nice intentions. the character of Scott Michael Campbell has a lot of resources to be the key of story but it remains only a bizarre accident. Patrick Wilson is prey of a sketch, not really inspired. a film who gives after its end only ash of impressions. a complicated exercise without result.

I wanted to love this movie so much. I adore Patrick Wilson and Neil McDonough, so I just knew this film would be fantastic. The premise has a great hook, the writer/director's theatre background promised rich dialogue and deep, heartfelt interaction between the characters.

I knew as soon as the movie began that it was going to be a disappointment. The flashbacks (and flash forwards) were disjointed and never fully resolved. The film itself had an overall bipolar feeling, where the brothers that were yelling and arguing and ready to come to blows suddenly found themselves laughing their guts out over beer and a makeshift football game. All of the transitions were left out.

The concept and the acting were pretty good. Not fantastic, but not terrible either. Neil McDonough's Rick looked bored at times where boredom was not called for, and I wondered if the actor was bored with his lines or if the script was in desperate need of some fine-tuning. Even Patrick Wilson, who stands out in everything he does, looked out of place here. No actor can ever be in only good movies, and I hope this is his worst, because even this is not awful.

I think the real problem with the movie was the editing. The slow motion dissolves were too slow and looked amateur. The cuts to other scenes had no general connection. It came across as very choppy, which one could argue showed the mindset of the characters, but, to me, just looked like sloppy work that could have been greatly improved by a more experienced artist.

Overall, I can't recommend it, but I won't tell anyone to avoid it either. It was just "okay."

Paul Kampf is new to the game of writing and directing and has obviously been influenced by some filmmakers who tamper with the story and use flashbacks and flash forwards to enhance the richness of the theme line. In the case of BROTHERS THREE: AN American Gothic these borrowed techniques serve to confuse rather than enhance the appreciation of the film: the viewer is left with a feeling that too much is being taken for granted as far as additive information and too little attention is paid to character development and direction. The result is a bumpy ride of a movie that is in need of some postproduction surgery to make it appeal.

In a desolate forest cabin we meet New York lawyer Peter (Patrick Wilson) who has been summoned to this childhood 'home' by his brothers - the older Rick (Neal McDonough) and the younger, mentally challenged Norman (Scott Michael Campbell). Rick is sullen and angry, Norman is pitifully confused and abused, and Peter tries to make sense of the reunion. The boys' father (John Heard) is dead, leaving a will dividing his meager belongs among the three brothers. Through a series of confusing time changes in the guise of artistic flashbacks we discover that their mother is dead and that funeral attendance did not include the entire family, that Norman was the product of a drunken liaison with Loren (Melora Walters) who died at the hands of the father, and about other evidences of extreme family dysfunction. We also slowly discover the dark truths of the death of the alcoholic father, an incident that was brutal, but when the truth is revealed it unites the three brothers.

All of this is played out in the filthy cabin where most of the time is spent in imbibing beer and in fights both real and playful. At times we are not sure whether we are in the present or the remembered past, and instead of adding to the drama, this somewhat amateurish manipulation leaves the audience confused. The acting level of Wilson, McDonough, Campbell and Heard has some fine moments and some extended moments that seem like tired adlibing. Tighter control from the writer/director would have helped - especially in the editing room. Grady Harp