Eye of God

I watched this film late last night with the intention of just seeing the first half then and saving the rest for later. It didn't work out this way due to the fact that "Eye of God" is so utterly fascinating and potent a movie; you just can't take your eyes off the screen!

Martha Plimpton is truly unforgettable as Ainslee. She explores the nuances of her interesting character realistically and intelligently, adding her own unique charm and talents to the role with spellbinding effects. She really deserved a lot of praise and awards for this part!

Actually, all of the performances in this film are excellent, from Hal Holbrook's brilliantly understated sheriff to Kevin Anderson's chilling, masterful performance.

The plot couldn't be better constructed or in a more original way. The technique may be off-putting to some, which made me love this film even more; it will probably always be a film that is revered by a small few because it never takes a Hollywood approach to the material, nothing about this film is derivative of something else, so it will seem unfamiliar, alienating, and disconcerting to many.

It's a film with many moments that are nothing short of gems, a film that stays with you and feeds your mind.

If you haven't seen it and have even a passing interest in cinema, it's imperative that you track this film down on VHS or DVD; true masterpieces like this should be better known and sought for.

My rating: 10/10

With explicit references to the Bible, "Eye Of God" is a thought provoking film that explores the effect of religious faith on the relationship between a lonely young woman named Ainsley (Martha Plimpton) and Jack (Kevin Anderson), the prison parolee whom Ainsley befriends. In its realism and its setting in rural Oklahoma, "Eye Of God" reminds me of "Silkwood". Both films are depressing, sad, and have a fatalistic quality to them. Both films explore life and death issues. And in both films, the essential question is not who, or when, or how, but ... why.

In style, "Eye Of God" is simple, direct, low-key, and personal. There's very little camera movement. Typically framed by doors or windows, most scenes are unobtrusive locked-off shots of characters talking. The cinematography is totally not flashy nor gimmicky in any way. The acting is direct, restrained, understated, and high in quality. Martha Plimpton gives a flawless performance. I was also impressed with the performance of Margo Martindale, in a support role. Further elevating the overall acting is Hal Holbrook who gives his usual raspy voice performance as the town sheriff.

There's very little score. At times, country songs can be heard in the background. The film opens with the beautiful gospel recording of "Live With Jesus", by Wynonna Judd.

Some viewers may not like the story's non-linear structure. The film uses time-cuts to force the plot ahead and then back in time in such a way that scenes are not necessarily in chronological order. But the scenes are always thematically related. As the film moves along, the various seemingly unrelated threads come together. And it all makes sense in the end.

This is a movingly personal film whose theme runs deep. As such, nearly all viewers can connect with one or more characters in some way. The film is entertaining for its high quality acting and for its interesting cinematography. But more than that, this is a film with a profound message relevant to contemporary audiences. "Eye Of God" is one of the best films of the last fifteen years.

I love independent cinema, and Eye of God is a great example of what a good independent movie should be. The real-life situations depicted are as twisted as real life is, and the acting is at points absolutely adorable (Plimpton) and absolutely chilling (Stahl). I thought that the cinematography was profound, and that the way the way the plot weaved the story through was brilliant. Maybe it's because I'm easily impressed (by Martha Plimpton; by stories of Twin Peaks-like small-town dramatic horror; by the lengths some writers, directors, and producers go to to create meaningful cinema; or all three, and then some more), but this movie left me feeling like something had happened To Me, and I was shattered and felt uneasy for a good two hours afterward, which I think really is the sign of a good film. Also, as an addendum, whereas some independent cinema seems contrived and at the same time pretentious, this movie was neither. And by the way, I loved it, and you might, too!

I thought it was quite good. It gave me a feeling I haven't felt since I saw Sleepers. I loved the way the director overlapped scenes, and used flashbacks to tell the story. This is success where Pulp Fiction failed. All the characters were believable, and all the performances were good. In particular, I was impressed with the depth of emotion Nick Stahl portrayed without saying a word for the whole first half of the movie. Sometimes the ending you don't want makes the movie that much better.

Jack is released from prison and meets up with Ainsley, a young woman he has been writing letters to for quite some time. Ainsley is a sweet romantic simpleton who doesn't even want to know about the crime that put him in prison. Jack believes that he has been reformed by the justice system and by religion, but he's also a control freak. For strange reasons lost in the mysteries of the human heart, these poor souls decide to start a relationship.

One can't give away too much of the plot without collapsing the nonlineary framework of the film and ruining its breathtaking effect. So suffice it to say that this recipe for disaster is tossed up in the air along with the biblical story of God asking Abraham to sacrifice his son Isaac and with all the theological and ethical problems both of these stories present. Everything builds to a whirling climax of nonlinear convergence and small-scale horror. In the end the audience is brought face-to-face with that grand philosophical theme "the problem of evil," and we find no easy solutions.