The values of past and present collide in this beautifully shot, finely acted reexamination of the American Dream.
Down in the Valley (2006)
Tomatometer
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Reviews Counted:99
Fresh:51
Rotten:48
Average Rating:6/10
Consensus: The premise of Old West clashing with modern suburbia is fresh and initially intriguing, but the second act degenerates into a clumsy jumble of events which strain credibility.
Rated: 15 [See Full Rating] for violence, sexual content, language and drug use.
Runtime: 2 hrs 5 mins
Genre: Dramas
Theatrical Release:26-05-2006
Synopsis: Director David Jacobsen's DOWN IN THE VALLEY plays like a romantic, operatic lament for the disappearing cinematic and real-life icon: the American cowboy. Many of the elements that would fuse,... Director David Jacobsen's DOWN IN THE VALLEY plays like a romantic, operatic lament for the disappearing cinematic and real-life icon: the American cowboy. Many of the elements that would fuse, say, a classic John Wayne character are present in Edward Norton's (PRIMAL FEAR, 25TH HOUR) character, Harlan Fairfax Caruthers: he's polite, soft-spoken, yet stubbornly brave and handy with Colt steel and lead. While at home in Death Valley in the mid 1800s, these characteristics are positively anachronistic in modern-day San Fernando Valley. How else to explain the reaction of a gaggle of giggling teenagers to Harlan as he pumps their gas? One of the teens, Tope (Evan Rachel Wood), is immediately attracted to these charms and invites Harlan along to the beach. A whirlwind romance follows, much to the chagrin of Tope's (short for October) father, Wade (David Morse), who senses there is more to Harlan than meets the eye. Indeed, things begin to unravel when Harlan lies about "borrowing" a horse from a local rancher that leads to a threat at gunpoint. To make matters worse, Harlan ingratiates himself more by spending time with Tope's attention-starved younger brother, Lonnie (Rory Culkin). Eventually, as more of the dangerous demons beneath Harlan's charming veneer reveal themselves, action must be taken and justice meted out, Old West-style. At times tense and, alternatively, quiet, DOWN IN THE VALLEY features some creative camera work from cinematographer Enrique Chediak that fits both moods. Also, be on the look-out for a scene-long quotation from TAXI DRIVER. [More]
Starring: Edward Norton, Evan Rachel Wood, Bruce Dern, Ellen Burstyn
Starring: Edward Norton, Evan Rachel Wood, Bruce Dern, Ellen Burstyn, David Morse, Rory Culkin, Muse Watson
Director: David Jacobson
Director: David Jacobson
Screenwriter: David Jacobson
Producer: Edward Norton, David Jacobson
Studio: ThinkFilm
Reviews for Down in the Valley
While it does feel somewhat stretched and overwrought, this is also a powerfully well-told story.
An unusual, occasionally breathtaking but sinister tale of two star-crossed lovers where urban and rural America collide.
Agitated and painfully draggy, this hollow piece of contemporary psycho-trauma is what happens when everyone keeps banging on about how liberated and profound '70s filmmaking was.
It's easy to see what attracted Ed Norton to the project, because Harlan is a terrific part and Norton plays him brilliantly.
Norton, of course, gives everything to the role, but not even an actor of his immense skill can completely erase his pre-existing persona.
The film is... shifted from the troubled relationship of the frayed family [to the] private psychodrama... of Norton's troubled character.
"Down in the Valley" is an ambitious project that never blends cohesively.
Norton earns sympathy, but even he can't sell some of Harlan's poetry-of-the-people eloquence, as when the cowboy comments: 'Most days I just want to step outside my own heart and go walk under a sky full of stars.'
Patchy but powerful rumination on myth, youth and man's capacity for brutality.
Norton sells it, as far as all of this can possibly go. Even if you doubt some of the action, you never doubt the existence of Harlan, a man out of time and out of options.
Edward Norton and Evan Rachel Wood turn in strong lead performances, but their talent alone isn't enough to set David Jacobson's sun-bleached, modern-day Western on fire.
In the end, the core idea is weighted down by too much length, strained sympathy, and a conclusion that comes with more relief than satisfaction.
It's possible that we're in the early stages of the latest cinematic fad -- the revisionist Western -- but with its crippling second half, this one ultimately turns out to be a brokeback movie.
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