Tideland (2005)
Directed by Terry Gilliam
Because of the actions of her irresponsible parents, a young girl is left alone on a decrepit country estate and survives inside her fantastic imagination.
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What critics compared Tideland to
Like "The Brothers Grimm" or "Tideland," "The Zero Theorem" requires time and multiple viewings to allow the viewer to really wrap his or her ahead around how meaningful and great it really is.
Because the films we have seen, at least since the start of the 21st century, have felt compromised (“The Brothers Grimm”), muddled (“The Imaginarium Of Doctor Parnassus”) or borderline-unwatchable (“ Tideland”).
The overstuffed production design and antibureaucratic humor echo Gilliam's Brazil, whereas the air of apocalyptic dread recalls 12 Monkeys and the misbegotten Tideland.
Dig into them and you’ll find a sound structure; “Tideland” is not the most pleasurable film, but it is an aching look at isolation and loss (and featured, in Jodelle Ferland, one of the all-time great kid performances).
Those who made it to the end of “The Imaginarium of Doctor Parnassus” or “Tideland” will be amazed to find Gilliam sinking even further here than those low-water marks.
Over the past decade, in “Tideland” (2005) and “The Imaginarium of Dr. Parnassus” (2009), Gilliam has taken to scattering images much as a military aircraft dispenses chaff—shiny showers of diversionary material, deflecting all efforts to track its course.
So The Fall encourages thematic comparisons with del Toro 's Pan's Labyrinth and especially Terry Gilliam 's The Adventures of Baron Munchausen and Tideland .
For a movie with such audacious, lush, and inventive images (and, yes, production backstory), the story and themes of The Fall bring to mind a whole lot of other audacious, inventive films, including several by Terry Gilliam (particularly The Adventures of Baron Munchausen and the little-seen, mostly-reviled Tideland ), and even a couple of recent ones about the transformative power of storytelling and mythmaking ( Be Kind Rewind and Son of Rambow ).
A mother, Rose Da Silva (Radha Mitchell, Melinda and Melinda), takes her troubled, adopted daughter, Sharon (Jodelle Ferland, Tideland), to the ghost town of Silent Hill, W.Va., thinking that there she may find the key to her daughter's problems, since whenever Sharon has one of her episodes (which always seem to end with the child sleepwalking to the edge of dangerous cliffs) she mentions Silent Hill.
After playing Radha Mitchell's daughter in the similarly awful "Silent Hill" , this young actress is in for some extensive time on the therapist's couch when she grows up.
Crashing and burning with brazen, headstrong recklessness, the former Pythonite's latest (adapted from Mitch Cullin's novel) is a gonzo riff on Alice in Wonderland drowning in drug abuse, talking squirrels, rotting corpses, pedophilia, and decapitated doll heads which are worn on the fingers of—and imaginatively engaged in conversation by—young Jeliza-Rose ( Silent Hill 's Jodelle Ferland).
Del Toro's Spanish-language film accomplishes everything Terry Gilliam's "Tideland," an equally dark and disturbing yet scattershot effort, fails to do.
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There are elements in Tideland of Gilliam's aborted The Man Who Killed Don Quixote (the equation of a train that slices through the Grant Wood-side with a mighty beast to be slain its most complex image of transportation, arrest, and romantic madness), especially in the character of a hero who is heroic only in her dreams, making a heaven of a her hell.