“JOE” **
Would you give up on your personal artistic perspectives in order to reach stardom and become a wealthy Hollywood figure? That’s a hard decision for an original artist, especially those who dedicate their gift to fulfill the world with their imaginary ideas through the process of moving images. Everybody loves Hollywood, and the industry carries the power to change opinions, to shape new characteristics, to influence and to create new icons. But as in one hand, Hollywood is able of setting high standards for new filmmakers, in the other hand, the money-making machine is also willing to destroy a promising director’s authenticity in order to keep the cash rolling. That unfortunate fact happens very often among foreign professionals who work hard and put up efforts to remain true to their style when coming to Hollywood in search of a taste of popularity, and it also happens to young independent American filmmakers who try to resist the greedy opportunities, but wouldn’t resist a fat paycheck.
And David Gordon Green is the most noticeable contemporary example of it. This young genius who just turned 39, became a sensation as he enchanted the independent circuit in the beginning of last decade, promising to be the next great American filmmaker with such powerful studies on his generation as “George Washington”, “All The Real Girls” and “Undertow”. Gordon has fallen for Hollywood’s poisoning and manipulative dream of success; he proved to be a natural and fiercely conductor of human emotions and desires, as he envisioned his generation, its figures and challenges, aspirations and uncertainty, creating raw portraits of what’s left of it, and what’s worth of hoping for in modern era. His incredible sensibility and ability to depict issues embodied by the characters he created, defined him as an authentic master. But then Hollywood noticed his appeal, and seduced him to portrait similar aspects of the young generation in its own territory: the mainstream.
After reaching fame and respect among movie-lovers and independent enthusiasts, David got involved in raunchy-stoner-vulgar comedies such as “Pineapple Express”, “The Sitter” and “Your Highness”, grossing a lot of cash but taking away his credibility from those who learned to admire his authentic skills. Perhaps, that’s the reason he invested on this new project, as a form of trying to resurrect out of the hell Hollywood caused on his career. But as he’s trying hard to reconnect with himself, the film feels dull as it narrates the story of Joe(Nicolas Cage), a contractor who gives a young boy(Tye Sheridan) his first job and becomes involved on his family troubles. David goes back to the small villages he once explored, to document the faces inhabiting the desert area of the country, but instead of fascinating, he only shows presumptuous explicit violence, lack of argument for his characters, and unbalanced intentions as he brings up intriguing issues such as child endangerment, abandonment, and an estranged father/son relationship that shocks but won’t save it from mediocrity. Even though, it deserves attention because it is a fresh restart that shows he’s aware he needs to reinvent and rescue his stolen talent. Fingers crossed!
Comments