Unlimitedia Sick Product of a Sick System

Pacionsbo Absolutely Fantastic

Verity Robins Great movie. Not sure what people expected but I found it highly entertaining.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

aaronbees I picked this up at the local video store, having been impressed with its credentials and the intriguing writeup about the storyline. I guess I'm glad I did, even if the film really fails at getting beyond some rather simplistic coming-of-age poignancy. The kind of films I most enjoy are slower mood pieces ... but they have to add up to something."Dandelion" fails because the script really isn't meaty enough to warrant any in-depth resonance to these characters. The cast does remarkably well with precious little, particularly Vincent Kartheiser in the lead role and Arliss Howard as his father. Their relationship is one that's actually fascinating but it doesn't get too far into redemptive territory. Part of what I want to know is how these characters got here. How'd the father become such a remote curmudgeon? What's Mason's past history with friends, his mother? His way of being protective over her is touching, but his role as her son is given scant attention. Everyone seems so passive, as if they're letting things roll over them. And what really motivates Mason to take the fall for his father? Why does he feel that in some sense he deserved it? This we'll never know because the writing isn't there. When the dad tells Mason he loves him in the graveyard, it's supposed to be a powerful moment, but comes off as pretty sophomoric. Because, really, if that's all he realizes, it's not much.Because of the poor writing, the plot turns feel forced, contriving to hammer down twists and turns. But none of that feels natural -- just overloaded (particularly Danny's demise ... what a cheap shot by the writers).Best scene: Mason, Danny and the dying bird. That scene, at the very least, has some surprise and kick to it. But it doesn't really connect in any coherent way with their love and the rest of the film.The pace and cinematography are just fine. There's great use of the landscape and pretty camera work, but I'm not sure it really adds much to have endless fields of waving grain.Ah, such beautiful emptiness. Too bad it's not as interesting as it could've been.

kategirl225 I absolutely loved this movie, but i understand why others did not. The script, frankly, was cheesy, but the actors were very good and I think made it very convincing. Vincent Kartheiser and Taryn Manning are adorable and it is now my officially my new favorite movie. So give it a chance! The symbolism, soundtrack, and acting in this movie make it very exceptional. I nearly cried when it became apparent that she was going to take her own life. No matter how bleak the subject matter in this movie was, however, they still managed to have a somewhat optimistic ending and I was deeply inspired at the end of the movie. I also love the title!

bastard wisher "Dandelion" is one of those films that seems like a good idea, mostly because of other films it reminds you of. In this case, the films it brings to mind are "Donnie Darko", "American Beauty", and particularly David Gordon Green's brilliant "All the Real Girls". While director Mark Milgard, along with his two (!) other screenwriters, obviously had their hearts in the right place, the end results leave a lot to be desired.Cinematographer Tim Orr (who works on all of David Gordon Green's films), does a typically great job at capturing beautiful, Malick-like landscapes, but Milgard blatantly lacks the poetic touch needed to find an emotionally resonant story within the picturesque environment. Instead, all he manages to come up with is an almost embarrassingly by-the-numbers coming-of-age story. The plot itself would not be such a problem if he had infused it with convincing characters or memorable dialogue, but alas he does not. The characters are wince-inducingly one-dimensional (the angry dad, the repressed alcoholic mom, the "troubled" girl next door, and of course the introverted, gloomy protagonist). I found myself all but begging the filmmakers to allow for some nuance to creep in, to allow the characters some kind of depth, but no. None of the characters are allowed to escape their stereotype for even a minute. This is particularly sad in the case of the lead Vincent Kartheiser, who did good work in Larry Clark's "Another Day in Paradise", and seemed able to deliver here too if he had been allowed to not play up to his morose stereotype of a character. Taryn Manning, on the other hand, left a lot to be desired. Although of course the filmmakers didn't help, her performance was still notably lacking.At times the film showed promise. In it's best moments, it recalled the great classic coming-of-age film "Over the Edge", as well as David Gordon Green's work. But it is actually that last comparison which ultimately proves what a flawed film "Dandelion" truly is. Where David Gordon Green's films always seem to unfold naturally, with no forced plot, "Dandelion" was full of contrived, obvious events. The biggest problem is that Milgard seems so obviously emotionally manipulative. Whereas David Gordon Green's films hit brilliant, unforced, emotional moments, "Dandelion" seemed intent on forcing you what to feel in the most obvious, unsubtle way. This contrivance ultimately amounted to the film more closely resembling achingly self-aware trendfests like "Garden State" rather than the Green or Terrence Malick it seemed to be attempting. In this respect, the dialogue was often particularly problematic as well.All and all, "Dandelion" is the kind of film I desperately want to root for, that I want to see succeed, yet it stubbornly insists on shooting itself in the foot at every opportunity it gets.

noralee "Dandelion" is a hauntingly beautiful contemporary spin on "Splendor in the Grass," with pervasive forebodings of how the endless horizons of the American Western prairie can lead to claustrophobic traps.Debut director/co-writer Mark Milgard masterfully makes the long hot summer of the lovely Idaho and Washington landscapes redolent with both the magic of young love and the dread of violence in a very "Days of Heaven" fashion. The perceptive camera fills in the silent gaps of the inarticulate characters, between parents and their teens, between parents and between teens. The sins of the parents are literally visited on the children. The action is moved along not by theatrically explosive explication but by the existential choice that each character makes, even as one gently points out that his passivity at a key point was a choice. Using cinema as a storytelling technique, the director unveils these choices visually.Key to the success of this approach is Vincent Kartheiser. We certainly had no trouble thinking he was from another dimension in TV's "Angel," and here his emotive face and saucer eyes are Garbo-like to the camera. His "Mason" almost non-verbally goes from sullen son huddling under his hair to opaque Billy Budd-like martyr to an achingly enraptured Romeo. His sudden bright smile lights up the screen and forecasts the potential for hope and love as much as his tear-filled eyes drown our hearts. Every feeling felt or shut down is reflected in that face and eyes. Kudos to Kartheiser for not choosing to be another of the WB TV Boyz -- was he in college in between?-- and instead taking an offbeat role. No wonder Taryn Manning's "Danny" finds the scrawny sensitive kid irresistible even when a more conventionally hunky bad boy Shawn Reaves (of TV's "Tru Calling") is a rival (though the triangle plays out in an atypical fashion). She sensitively exudes toughness and vulnerability, in a different way than she did in "Hustle & Flow," as she blossoms into what "Mason" sees in her.The parents are also atypically not inconsequential and the excellent acting by the adults ratchets up tensions (though a post traumatic stressed syndrome Viet vet uncle and a grief-stricken mime out of Springsteen's "Reason to Believe" are a bit too much). Arliss Howard well captures a nice guy who nevertheless commits terrible emotional abuse on his wife and son. Mare Winningham starts out as the usual tippling oblivious homemaker, but brings real feeling to the last part of the film, in both an explosion of frustration and of an almost pieta scene of sympathetically stroking her inconsolable son's hair. Michelle Forbes is commendably almost unrecognizable in a very atypical role for her as a troubled single mom who destroys her daughter's self-esteem. The film well shows how the adults start to perceive their kids' feelings and how that powerful life-affirmation affects them.Even though what was obviously a minuscule budget necessitated no changes in hair styles or aging make-up etc. to back-up the interstitial "two years later," the weather beaten buildings and exquisite settings of meadows, creek, endless road and railroad tracks and big sky of bright clouds and overpowering rain are an essential component of the story, though I'm pretty sure the title image only appears once. While co-writer Robb Williamson's score captures the ominous mood and the indie rock song selections are illustrative, especially Sparklehorse ironically singing of a "wonderful life" and Cat Power covering Lou Reed, the visuals reminded me of a country song: "You know the world must be flat/'Cos when people leave town, they never come back." (from "Small Town Saturday Night" by Alger and DeVito, popularized by Hal Ketchum).There have been some other films lately dealing seriously with teens and parents amidst death and first love, including the suburban "Winter Solstice" and "Imaginary Heroes," but I was the most moved by "Dandelion." This is the most poignant, mature portrait of young people in rural America since "Tully" and "All the Real Girls."