Tim Hunter
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Though it is clear from the start that something bad -- very bad -- is bound to happen here, and does, there is satisfaction in the film's defiantly unhappy anti-resolution that will appeal to the same quirky subset of people who appreciated the darkly depressing "River's Edge," "Kids" and "Bully."
"Mean Creek'' takes its place alongside "Stand by Me'' and "River's Edge'' as one of very few films to accurately portray the experience of growing up male.
If they were adults, in an action movie (or even teens in River's Edge, which Mean Creek resembles), Sam and Millie's dire circumstance might lead to the sort of desperate, ardent sex that happens in such movies.
Mean Creek slots itself nicely in that catalog of macabre coming-of-age stories like River’s Edge and Stand by Me by way of the existential panic of Deliverance.
The title Mean Creek is a kind of plainspoken, water-borne homage to ''River's Edge,'' a beloved and influential 1986 movie about adolescent moral choices.
At first blush, "Mean Creek," by first-time writer-director Jacob Estes, is a film in the tradition of "River's Edge" and "Stand by Me."
It’s also—as many critics have already pointed out —a spiritual descendant of Tim Hunter’s terrific 1986 drama River’s Edge, about a group of teenagers scarily unfazed—and even excited—by a murder committed by one of their classmates.
Here they reunite with cinematographer Eli Born and editor Ed Yonaitis for a story which consciously echoes the likes of River's Edge and Stand by Me in terms of plot, while also displaying thematic and stylistic debts to Donnie Darko and the small-town pictures of John Carpenter and David Cronenberg.
Super Dark Times is a coming of age picture that harkens back to the glory days of R-rated '80s teen movies like River’s Edge , slices of moody truth that contain a significant amount of darkness at their core.
Thirteen years before the Columbine High School massacre, Tim Hunter’s River’s Edge painted a chilling portrait of numb teenage ennui and the banality of baby-faced evil.
It’s a ’90s teen thriller that has hints of “Stand By Me” and “River’s Edge” about it.
Written and directed by Nick Cassavetes, and based on a sordid tale of abduction, murder and international flight involving the improbably named FBI most-wanted-listee Jesse James Hollywood, the film belongs in the same category as Bully, Mean Creek and River's Edge.
Campbell, whose excellent arc on “The Americans” looks in retrospect like a warm-up to this part, nails the role of a shy kid who hasn’t yet found his place in the world, while Brit thesp Heaton seems to channel River Phoenix in moments (the early films of Gus Van Sant feel like a key touchstone here, as does Tim Hunter’s “River’s Edge”) as the more extroverted but also emotionally tortured of the two.
His decision to shoot on 16mm gives it a gritty yet dreamlike noir feel, reminiscent of 1986's River's Edge.
It’s reminiscent of Justin Kurzel’s Snowtown or Tim Hunter’s River’s Edge in how it drops viewers up to their eyeballs into a world of pure apathy, and the result is a film that makes it difficult to connect with.
That's the plot in a nutshell, familiar to anyone who's seen the superior River's Edge.
When the film doesn't � as in its aimless early scenes � it plays like an updating of the black comedy "River's Edge," with the same amount of irritating characters but none of the humor.
As a result, Clark undercuts whatever aspirations he may have had in attempting to make a movie of the level of Jonathan Kaplan's "Over the Edge" or Tim Hunter's "River's Edge," two classic studies of lethally disaffected suburban youth.
It's more like a porny and gruesomely didactic fusion of ''River's Edge,'' ''Lord of the Flies,'' and ''I Know What You Did Last Summer.''
His sophomore feature is a sharp, wickedly funny, and unexpectedly heartfelt homage (co-written by Joshua John Miller, that amazingly creepy child actor so memorable in Near Dark and River’s Edge).
The film is reminiscent of the best parts of River’s Edge, Paranoid Park, and Wassup Rockers, as Porterfield and cinematographer Jeremy Saulnier focus on the vibe of their locations: a creek where the kids gather to swim, a retirement home where the deceased’s grandmother watches Reba, a library where a little girl listens to a reading of Sylvester And The Magic Pebble, and so on.
It's also a believable teen story reminiscent of classic youth movies like River's Edge and Elephant.
Too, it had a genuine Sixties echo in Dennis Hopper, a living, breathing actor who nevertheless has struck me as cinematically zombified at least since River's Edge.
Kind of reminiscent of "River's Edge", except that was a really good movie.
America�s copious outpouring of trendy bloodfest movies -- from "River's Edge" to "Natural Born Killers" -- seems to have inspired a banal, worldwide creativity.
Its closest kin is "River's Edge," a 1987 film about a group of high school friends unable to choose between betraying a pal and concealing a murder.
And the kids (as they also were in another teens-from-hell drama, River's Edge) are so blank that you don't care about them -- with the possible exception of Darcy (played appealingly by Yakira Peguero), who is Harmony Korine's update of the maiden whose purity is endangered.
Before you can say River’s Edge meets Assault on Precinct 13 (via Deliverance ), dressing room doors are locked, unregistered firearms are drawn, red-laced troops are assembled, and the management are on the scene in the shape of Patrick Stewart’s sinisterly silver-tongued Darcy Banker.
After multiple microscopic art-house experiments, he’s back in your face and at your throat with a juvenile-delinquent story that can stand alongside “Pixote,” “River’s Edge” and “13.”
If they'd done a high school murder mystery without the phony dialogue they could've had a nice River's Edge type film.
While there have been some good-looking corpses on film and TVLaura Palmer or the victim in River's Edgemaybe it took Tim Burton to fully illuminate the urge to consort with the dead.
Whenever we see the all-too-corruptible face of Corrigan (Please Give, Pineapple Express, American Gangster, The Departed, The Saint of Fort Washington, GoodFellas, and about ninety more) pop up in an urban setting, we know we're in good hands — he's the ultimate criminal accomplice.
The Next Three Days (2010)
Directed by Paul Haggis
influenced by The Saint of Fort Washington (1993)
Whenever we see the all-too-corruptible face of Corrigan (Please Give, Pineapple Express, American Gangster, The Departed, The Saint of Fort Washington, GoodFellas, and about ninety more) pop up in an urban setting, we know we're in good hands — he's the ultimate criminal accomplice.