Disappearances

Jay Craven's adaptation of Howard Frank Mosher's novel, "Disappearances", is an unusual, beautifully photographed (by Wolfgang Held, the same from the documentary "Metallica: Some Kind of Monster" - small budget is not a big issue when there's real talent and passion involved) western-style adventure that deserves to be discovered.

Kris Kristofferson has his finest hour as an actor playing Quebec Bill, a schemer who resorts to whiskey-smuggling with his son, Wild Bill (Charlie McDermott, "The Village"), in order to raise money to preserve his herd as winter approaches. They cross the border into Canadian wilderness, and embark on a wild, ghostly journey. Veteran, underrated Geneviève Bujold (Oscar nominee for "Anne of the Thousand Days"; "Dead Ringers") has a an important supporting role; the amazing character actor Luis Guzmán ("Magnolia", "Boogie Nights"), Gary Farmer ("Ghost Dog") and Lothaire Bluteau ("Jesus of Montréal", "Bent") are also part of the ensemble. "Disappearances" is an original, mysterious (the magical realism and metaphors make it refreshing and intriguing like a Terrence Malick flick on a cold day) film that doesn't fit in a single genre, for it dares to take a particular course and go all the way, faithful to its core. No apologies, Mr. Craven; your mission's accomplished, and everyone who experienced it with an open mind is satisfied. For those who didn't get it, well, it's their loss. Let them anticipate the next Michael Bay, and everyone's happy in their own shoes. 8/10 (a high rating for me).

I just finished watching Disappearances at AFI FEST 2006 with about 30 other people in a mostly vacant 1000 seat auditorium. The festival programmer, after seeing the lack of audience, started his opening comments with, "Well at least a few of those attending the festival have good taste in film". Well Mr. Programmer, after watching this film I must answer back "No we don't, and either do you!" This "back-woods" period piece follows young (not so) Wild Bill as he and his mystic family dangerously run illegal Canadian whiskey across the border during America's prohibition. The old-time outlaws (Kris Kristofferson and company) not only need the money to save their ramshackle Vermont farm but want to introduce little Wild Bill to the virtues of manhood.

Although handsomely photographed, this adventure story lacks what makes films of this sort good, "tension" and believability. Kristofferson's lackluster performance and dry monologue reminds me of a dream I once had where Al Gore was playing the role of Willy Wonka. I just didn't care and when Wild Bills mystic grandmother appears out of thin air to give him advice it just didn't fit. Yes, I almost fell asleep more than once.

Gary Farmer does do a good job as the Cameron Frye in Ferris Bueller character; brother-in-law of Big Bill while the teenage Chris McDermott does uses those piercing blue eyes to his acting benefit.

But overall expect to see Jay Cravens Disappearances playing at a Block Buster $2 Bin near you.

To be fair, I saw this movie on network TV, so it may have been edited, and I missed a few minutes in the middle of it. Having said that, this one's a turkey. The scenes are pretty, Kristofferson did well, and I guess the kid from The Middle was believable enough, but a movie's quality isn't necessarily inversely proportional to how believable or realistic it is. Likewise, a dull and confusing movie isn't necessarily a good one. I have the sneaking suspicion that the people raving about this movie either a) are the pretentious types who think movies that don't make sense are works of brilliance and whose pride won't let them admit they don't make sense or b) put up money to make the movie and don't want to feel they've been jobbed. On that note, at the end of the credits, it lists all the people who gave money to make the movie along with people who hosted fundraisers for it; if a movie is that hard to sell and has to rely on so many private sponsors, along with government money from the NEA, there's a good chance it's not any good. You know, now that I think about it, since some of my tax money went to fund this stinker, I fully endorse it myself. God bless America. If you're looking for a good indie-type movie, skip Disappearances and watch An Unfinished Life with Robert Redford and Jennifer Lopez.

I recently saw "Disappearances" at a private screening at my college. Jay Craven was there to offer some insights into the film and to prepare us for it. It was a small audience, mostly college students and teachers, the latter apparently being the only ones who "got" the movie.

Jay Craven's work is famous for its breathtaking visuals and ambiance, courtesy of the still relatively undeveloped Northeast Kingdom of Vermont (where I live) - and his latest film doesn't disappoint in this respect. What's disappointing about Disappearances is that it unwisely shifts its mood from that of the cold, hard realism of Vermont circa 1930s, and as the movie progresses, becomes increasingly focused on the "magical realism" that is tied to the back story behind its characters. While such an approach might have worked in the book on which the film is based, it leaves the audience puzzled and somewhat removed from the film.

There are elements of the film that do indeed shine, demonstrating to the uninitiated how Jay Craven manages to attract big names to his films with such limited resources (Kris Kristofferson is the most well-known actor in this particular film). The dialogue is clever and well-written, and there are quite a few moments, mostly in the first half of the film, where you'll be pleasantly surprised by Craven's ability to tell a story and keep a plot moving seamlessly.

In fact, had the entire film stayed true to the theme shown in the beginning of the film - harsh and unforgiving realism - Disappearances might have been remembered as one of Craven's better films. Unfortunately, it tries to do more with its script than the film can manage without overwhelming the viewer, and the ending seems rushed and somewhat terse. Disappearances might be the sort of film that improves with multiple viewings, but only a dedicated viewer will be able (or willing) to keep up with its inconsistent tone and pace and to find the deeper meanings that Craven hoped would be the driving force behind the film.

Like the previous poster, I am from northern Vermont, and I was inclined to like this film. However, not since "Red Zone Cuba" have I seen such a confusing plot. The things the people sent to bootleg make no sense. Two of the gang paddle across the border send a second party across in a car. Uhm, why? Then they meet two others, and drive up at night in to the bad guy's hideout in a luxury Packard. --Wouldn't just two people in a flatbed truck make more sense? Then, parked outside the garage that holds the targeted hooch, the four fall asleep! When they waken in the morning and and start hauling the whiskey out, of course they're spotted and shot at, losing some of their precious cargo in the process. Then two of the smugglers put the whiskey in a boat and float it over the border. Again, why? I am told by someone whose great uncle really did smuggle in the area, all one needed was to drive a vehicle that could outrun than the U.S. Canada Border Patrol, which back then had a fraction of the resources it has now.

And don't get me started on the last half hour, which made no sense whatsoever.

The only good thing I can say about the film is that Kris Kristopherson has actually grown some charisma with the years.