The Road

I just got home from seeing "The Road" and my stomach is still in a knot. I never read the book and therefore won't be making any comparisons. I'll simply comment on the film.

I can't imagine the performances being any better from any of the actors, starting at Viggo and working my way down to the smallest roles. I can't imagine the bleak post-apocalyptic world being portrayed any more realistically. I can't imagine the general feeling of sadness, desperation, hopelessness, terror and pain being captured more accurately. If that was the goal, the people involved in the making of this movie did their job magnificently.

Having said that, it isn't for everyone. I saw this movie alone because I had a feeling my wife wouldn't be into it. It's tough to watch. However, in the midst of this recession brought on by greed and materialism, I think it's a movie that everyone of age SHOULD see in order to put things back into perspective, if only for a day.

I had a lump in my throat through most of the movie and was desperate to get home and hug my two boys through most of it as well. I also felt like downsizing our entire life in terms of the unnecessary "stuff" we have. I imagined how many homeless people wander the streets right now with that feeling of hopelessness and desperation. What more could I ask from a Saturday afternoon at the theater? It's this kind of movie that helps maintain a degree of integrity in the film industry among the inaneness that surrounds it.

With a surplus of post-apocalyptic/disaster flicks present in today's film circle, the Road does what very few films in any genre seem capable of doing. Here is a picture that in it's own discreteness captures the realism of a holocaust horror, combining the absolute worst possible future with the most profoundly beautiful human characteristics that keep the main characters persevering. Not only does the story accurately exhibit the polar opposite aspects of a post apocalyptic existence, but the cinematography used during the flashbacks of a life full of color and hope many take for granted, is excellently positioned with the dark, dismal, and often terrifying reality that is the Road. The score was also fantastic and perfectly appropriate for the film.

The only two, minor issues I had were the sound editing, (MINOR!) and the ending which was NOT at all a disappointment, but I felt it was quite open, without giving anything away. This is, again, a minor issue, for the story in itself was a journey, and we see only a small portion of the great, tragic, and ultimately fulfilling struggle.

And, though I'm sure no more attention is necessary, the acting as a whole was phenomenal. Each film since LOTR Viggo has greatly improved and I'd like to think of this as the beginning of his finest hour. Very few performances touch me emotionally, and his was certainly one of them, in three scenes in particular which were, being discrete, (the parting flashback, the dinner, and the climax.) Well done, the Road, thank you Mr. Mortenson.

While watching this movie I thought to myself that it was good I had already read the book. This was because the movie is agonizingly desperate and sad--often times it was just too much to absorb or handle in such a large dose. You can't put this movie down like you can with the book. Unlike the book being beautifully written, in an almost poetic prose, which distracted the reader from the subject, the movie is not beautifully shot. In your face is desperation, agony, and death.

I can understand why this movie was shelved for a year. Do not go into it looking to be entertained, at best look to be intellectually stimulated. This is no popcorn movie.

By Zach Copeland "The Road" Takes Fresh Approach to Post-Apocalyptic Genre Ever since God flooded out the entire human race in the early pages of Genesis, literature has abounded with stories of the apocalypse. For generation after generation, from The Book of Revelations to The Stand, we have obsessed over the end of the world, how it will come to pass, and what, if anything, we can do to stop it. Now that humankind has reached a point where the End could conceivably happen in an afternoon, our glimpses into this theoretical future are all the more intriguing. And they've never been more important.

The Road, directed by John Hillcoat (The Proposition) and based on the novel by Cormac McCarthy (No Country For Old Men), is a dark, poignant story of a father and son journeying through a post-apocalyptic wasteland, withstanding harsh weather, malnutrition, and under the constant threat of marauders, thieves and cannibals. Their goal is simple: to carry on.

Those looking to sink their teeth into mindless disaster-porn (not that there's anything wrong with that) can get their fix elsewhere. The Road is a smaller, more penetrating film that draws strength from its intimacy and its ability to do so much with so little.

Viggo Mortensen gives an emotional tour de force as the embattled father; look for him on the red carpet come March. Watching children act is oftentimes painful for me, but I thought Kodi Smit-McPhee was impressive and genuine as the son, and takes on the task of being in literally every scene with rare fearlessness. Charlize Theron, Robert Duvall, and Guy Pearce give small but highly memorable performances, Duvall in particular, whose portrayal of a withered old man journeying all alone will haunt you.

The desolate environment in which the story takes place is itself a character, foreign yet eerily familiar, and so perfectly conceptualized that it matches – heck, surpasses the standard of realism set by films such as 28 Days Later and Children of Men. Shot throughout four states, including at the site of the Mount St. Helens eruption, Hillcoat and cinematographer Javier Aguirresarobe (The Others, The Sea Inside) paint a backdrop that is altogether beautiful and devastating.

They say that every generation since the dawn of man has feared the End, and while this may be true, not every generation has seen what our modern technology is capable of. The Road is a dark looking glass into our future, and what it is likely to become if our primal nature is left unchecked.

Early in the film, the son looks at his father and asks him, "We're the good guys, right?" The father's response is in the affirmative, but as their situation become increasingly desperate, that sense of morality we think to be ingrained is put to the test. Hillcoat does a masterful job of portraying human beings as what we are and always have been. He holds up a mirror to the world and hypnotizes you with it.

As far as post-apocalyptic movies go, The Road is hands-down one of the best ever made. Despite its raw, gritty facade, which will understandably be a turn-off for many theatergoers, the story underneath has a sense of serenity that everyone can relate to.

The Road opens everywhere on November 25. Need I say more? *The Film Crusade* www.filmcrusade.com/survive-and-advance/

Greetings again from the darkness. The most recent adaptation of a Cormac McCarthy novel brought us the fantastic No Country for Old Men (Coen Bros.). McCarthy's post-apocalyptic The Road did not seem to set up well as filmed entertainment. Director John Hillcoat proves otherwise.

Make no mistake. This film is as bleak and filled with despair as any you have ever seen. This is not the SFX of fluff like 2012. This is the humanistic side of desperation and survival in a world where what little has survived seems grotesque and evil.

It is a phenomenal movie from a technical aspect, yet a higher rating seems off the mark, as so very few movie goers will find the entertainment value of such an achievement. While viewing, one can't help but weigh the ever-present option of suicide. What would we do in this situation? Do you continue to carry the fire or do you ask, what's the point, and hit the eject trigger? If you thought Charlize Theron was unappealing in Monster, you will find her absolutely intolerable here. Her beauty is overridden by her angst and unwillingness to continue the fight for her survival. Is she the rational one or totally selfish? Really good question.

The vast majority of the film is Viggo Mortensen and Kodi Smit-McPhee on their quest for the coast ... their ultimate goal for survival. The gray and lifeless landscape would (and does)suck the hope and soul right out of most. Viggo keeps trudging while teaching his young, more sensitive son, who by the way, is a dead ringer for Charlize (were she a 12 year old boy). The grayness of the film is so intense, that the dream/flashback sequences couldn't help but make me wonder if life were black and white, would dreams be vivid and colorful? Fans of No Country for Old Men will catch a glimpse of Garret Dillahunt as the hillbilly gang member who stumbles upon the Father and Son - Dillahunt was Tommy Lee Jones' entertaining deputy. Robert Duvall and Guy Pearce also have brief, but welcome, supporting roles. Duvall actually does quite a bit with his limited lines.

While it seems odd to release this one at Thanksgiving - it's not in the tradition of mass-appeal holiday fare, it is a must see for any true film lover or literature addict. To see the gray and stillness become as overwhelming as what is usually limited to one's imagination is worth the effort.