Charlotte Sometimes (2002) Online

I am not Asian, yet I totally identify with the mail lead. It's uncanny how true to life this film is. It is my belief that most of the American public shuns this film because it is too truthful about emotional isolation and social isolation. This movie extends beyond racial boundaries and displays the universal truth for all to see. Charlotte Sometimes is like looking into a mirror, which shows all your foibles. We can then examine these foibles and learn from them. One can experience something very unique when examining films that analyze basic human behavior. All in all, I give this little gem eight out of ten stars. Please go to your local video store and rent it.

CHARLOTTE SOMETIMES tells the story of Michael (Michael Idemoto), an automobile mechanic that rents part of his converted house to Lori (Eugenia Yuan) and her lover Justin (Matt Westmore). Lori and Justin's relationship is based almost entirely on sex, so after their frequent coital encounters, Lori finds herself knocking on Michael's door in search of emotional intimacy. Lori and Michael talk, watch videos and basically just hang out together. They are friends, but clearly Michael is in love with her.

So Michael doesn't have to hear the sounds of Lori and Justin's love making, he often escapes to a local bar for a drink or two. One day, Lori asks Michael if she can fix him up on a date. He declines.

On a subsequent visit to the bar, Michael meets Darcy (Jacqueline Kim). Intrigued by her, Michael begins to spend time with her. Although Darcy's clearly interested and Michael's attracted to her, he decides to wait for them to have sex. This is true despite that fact that Darcy tells him that she is going out of town.

While Darcy's away, Michael examines his feelings toward her and learns more about her in the process. We also discover that things aren't quite what they seem.

In Eric Byler's film, which he wrote (based on a story by Byler and Jeff Liu) and directed, the basic situations are set up very nicely. There isn't the compulsion like some new filmmakers to explain every detail. On the other hand, some of the dialog is obvious, especially when it comes to Michael's expression of his feelings toward Darcy. However, given the nature of Michael's character, that's not a significant shortcoming of the script. A major logic problem that develops at the end is a problem. It causes unnecessary confusion in the final act of the film.

In terms of character, Michael is much too passive. Rather than show some initiative, he waits for others to take action before he does anything. Simply put, there is no fight in him. As a result, it's hard to connect with Michael on an emotional level. This is really a shame, because being in love with a woman that only wants to be your friend is a situation in which most men can relate.

That aside, the other main characters are pretty much on point. Justin is a self-absorbed ladies man that is unwilling to share himself emotionally. Lori is the pretty and sweet girl that always feels unsatisfied in relationships because she's always attracted to emotionally unavailable men. There's something very different going on with Darcy, but you'll have to see the film to find out.

Overall, CHARLOTTE SOMETIMES presents a very worthwhile scenario, but doesn't live up to its potential. For those looking for an intelligent film that presents its characters in interesting ways, it is definitely worth a look. It features an attractive cast with generally strong, believable performances. I just wish Michael's character had a little more fire in him.

The film is nominated for two Independent Spirit Awards. One is for the "John Cassavetes Award" for best feature made for under $500,000. The other is for "Best Supporting Female" recognizing Jacqueline Kim's fine performance as Darcy.

While not a great film, CHARLOTTE SOMETIMES is better than a lot of what Hollywood has to offer. It's also an apportunity for audiences to see some fresh young talent in a film with something on it's mind

Oft-remarkable, the lone flaw here is its' energy level - with very impressive performances, and through great use of shadows and silences, CHARLOTTE SOMETIMES often generates an unforgettable tension, but this isn't sustained effectively 100% of the time. Aside from this complaint, this is a fantastic film - subtle in its' story, the characters reveal themselves slowly, and come across as real people, with some very real dysfunctions. Eric Byler's direction is careful, measured and free of gimmicks; and the story is notable as a story with an Asian-American cast that isn't about ethnicity, but instead zeroes in on general human dilemmas. A striking and strong debut (and a GREAT model for non-white American filmmakers), this film is worth seeking out.

Now out on DVD with added features largely devoted to self-praise for this super-budget Indie film, "Charlotte Somebody" suffers from insufficient critical reviews and extravagant overpraise here on IMDb. Roger Ebert apparently has dedicated himself to championing this movie. Director/writer Eric Byler crafted a small but interesting story set in San Francisco. Essentially this movie is about four characters who explore various depths of their increasingly intertwined relationships. For a start, Lori (Eugenia Yuan) rents an apartment in the house where Michael (Michael Idemoto) grew up - he occupies the other flat. Michael is lonely but not despondent. Lori's boyfriend, Justin (Matt Westmore), is a regular hormonally-dominated sleepover. Their life together seems to consist of little but torrid and loud sex which Michael voyeuristically eavesdrops on (conveniently thin walls). But after breathless coupling Justin falls asleep and where does Lori go? To Michael's flat to cuddle with him very platonically while they watch movies on TV into the wee hours. She's oblivious to the fact that his, obvious to us, adoration of her must also be enhanced by the fresh odor of sex that trails her to the couch. Now Michael picks up Darcy/Charlotte outside a gin mill (I won't reveal why she has two names). Darcy is a smoldering mystery who believes that sex at first sight is a great way for two people to get to know each other. Nope, says Michael (who is an "mechanic who reads," we learn) - "no shortcuts." What follows is the interaction between the four as they sort out what they want from each other. Darcy is a troubling catalyst for Michael as well as for Lori and Michael. The pluses include a fresh cast acting with spontaneity, a story that explores the deepening of relationships and the surfacing of problems and - given that this movie was filmed on the very cheap - some smart and sophisticated use of shadows and light. Byler may well turn out more impressive films with greater resources in the future but Roger Ebert's almost worshipful pronouncement that he's a "born filmmaker," in a pre-screening lecture followed by a Q&A session with the audience, is premature. Lori, Darcy and Michael are Asian-Americans but this isn't really a film about being Asian and in love in San Francisco. The emotional issues and the unpredictable clashes can occur with any born-in-the-USA young adults. The "filming of..." extra features highlight some bloopers but is excessively self-congratulatory. "Charlotte Sometimes" is a good film but it isn't great. 7/10.

Not for those with short attention spans, this movie builds its characters slowly and methodically, with attention to telling visual detail and realistic dialog. Nevertheless, it's a very sexy movie, though not in a lurid sense. Even its most melodramatic elements are so well-grounded that nothing comes off gimmicky or cheap, and its shot-on-video photography is utilized intelligently and intuitively, with a surprisingly broad pallet of colors and textures. With such an overall understated tone, it's easy, on first viewing, to not notice the movie's technical suppleness. Forget the ethnic makeup of its cast, or its low-budget market niche. This is a masterpiece of character study and adept film-making.

'Charlotte Sometimes' is another highly accomplished Asian American movie released in 2003. Unlike the enjoyable, more mainstream high school black comedy 'Better Luck Tomorrow,' which MTV publicized and distributed, this one is quiet and subtle and focuses on relationships and choosing a mate. Michael (Michael Idemoto) has inherited his garage from his Japanese American parents. He lives in the top half of the family house and rents the bottom half to an Asian girl and her half Asian boyfriend. The couple has noisy sex every evening and loner Michael, who otherwise spends most of his time reading, goes to the local bar to avoid hearing. When he returns, the girl (Lori, Eugenia Yuan) comes up to watch a video and have a chat and a cuddle -- amenities the boyfriend doesn't seem to provide. Lori seems to have a purely sexual relationship with the hunky Justin (Matt Westmore, who's half Asian, like Eric Byler, the director of this movie).

Lori wants them to double date with a friend of hers, but Michael refuses, saying "I'm not afraid of being alone." He does his reading. He works in the garage. That is his life. He seems cool with himself, content with this. On Sundays he hangs out with a relative, following a traditional obligation that he neglects during the affair that's about to begin.

Next time he's at the bar he sees an attractive Asian woman (Jacqueline Kim). He leaves, then comes back. She talks to him. The non-committal Michael denies he came back for her, but when she leaves he runs out, admits he is interested, and invites her to his house, where they have some drinks, and then some more. He tells his story, but she reveals more, remaining mysterious. She says she's just visiting. She tells him her name is Darcy. When Lori comes up for her post-coital cuddle, Michael turns her away saying he's with someone. Darcy says that she's only there for a few days, she wants a quick sexual affair. Michael can't accept that -- he's probably too interested and too needy to get his mind around the idea of something temporary -- and he puts on the brakes. She spends the night, but they sleep separately.

Darcy has a secret, which Lori knows and which soon is revealed when Justin comes up in the morning to have help opening the shared garage and Darcy suggests that all four have lunch. Lori doesn't reveal anything to the group, but in the ladies' room we find out that the two women are old friends, and Darcy, whose real name is Charlotte, was the other women Lori wanted to double date with. She has lied in refusing any interest in Michael, and has lied to Michael about who she is and presumably about where she lives. In being mysterious, she's playing the femme fatale, and Lori knows she's dangerous and not to be trusted. She warns Darcy/Charlotte to steer clear of Justin because "he may be the one I will want to marry."

Eventually Michael finds out the secret and that changes everything. Lori challenges Justin by impulsively demanding after sex that he take her up to Monterey for the weekend. When he refuses she accuses him of being a "user." Stung, he storms out of the bedroom to leave, but later comes back and takes her on the trip. While they're away Michael goes into their place and finds old photographs that reveal Lori and Charlotte's friendship going back to their childhood.

When Darcy/Charlotte next appears, Michael turns her away ruefully, deeply hurt to have been deceived. Charlotte runs into Justin in a coffee shop and disobeys Lori's request by letting him come on to her. They go to a motel to have sex. Lori realizes Justin has left and throws out his things and goes up to Michael again. This time it's no longer just cuddling and they kiss as the film ends. Clearly it's turning out that the feelings they had for each other were more than friendship all along, and their previous matches were the wrong people.

'Charlotte Something' is as much about choosing the right mate as a Jane Austen novel, but it's all done with suggestion instead of elaborate speeches and analyses and a there are just a few repeated patterns of scenes instead of many chapters of narrative. The roles are also reversed. Justin, who's part Caucasian, is the sex object rather than Lori, and Darcy is a girl. Michael's laconic nature doesn't mean he isn't desirable or strong. Because all the characters hold back, but know what they want, and because the director and writer know what they're doing, every word and every shot count. The movie shows rather than tells, and never shows much, but it's amazingly rich and fresh considering the simple raw materials of four people and a house in Glendale. Michael's moment of final disappointment with Darcy is powerful and Charlotte's scene with Justin is shocking. The reunion of Justin and Lori is a denouement. The resonance of the loaded scenes continues long after one has left the theater.

Everyone in the film is Asian, so that isn't an issue--except perhaps for Justin, who's only half. His non-Asian side seems to be what brings out the stereotypical pattern of seeing his Asian girlfriend as a sex object, but with the paradox that this is what he turns out to be. An emotionally loaded and thought provoking piece, 'Charlotte Sometimes' is subtler than the nonetheless excellent and more popular 'Better Luck Tomorrow', which has had wider distribution due to its MTV imprimatur.

Michael's moment of final disappointment with Darcy is powerful and Charlotte's scene with Justin is shocking. The reunion of Justin and Lori is a denouement. The resonance of the loaded scenes continues long after one has left the theater.

I don't think this is a film unique to Asians, it just so happened that the characters are Asian. There are hues of cultural family/generational expectations, like the scenes of Michael and his aunt. The dinner table scene somehow reminds me of writer-director Mina Shum's 1994 "Double Happiness," which included Chinese-Canadian family dinner scenes with Sandra Oh in the lead; also brings to mind director Wayne Wang's 1985 "Dim Sum: A Little Bit of Heart."

Overall, I felt there are similarities in filmmaking style between Lynne Ramsay's "Morvern Callar" and Eric Byler's "Charlotte Sometimes" - the value of quiet moments, sparse dialog scenes, minimal lighting and silhouette shots; depiction of lonely feelings, alone-ness all by her/himself; loving yet not openly/readily showing so…secrets, pains, longings kept within. The storytelling approach is resonant of each other: not revealing it all to the audience, yet using music - here Byler has included songs by Cody ChestnuTT, to set the pace and tempo of the film. The presentation of relationship psyche is mature - the brief exchanges come across natural and of everyday ease. Yet, yes, it does feel like a thriller, emotion-wise. It's a tug of war. There is sexual tension. The sex in bed scenes - may be as sexy and suggestive as cable late nights, but it's not pornographic. Its camerawork integrally delivers with the soundwork - the grunts and noise of lovemaking are not forced but can be tantalizing.

Secrets and lies - yes there are: the relationship between Michael the quiet mechanic who reads (also the landlord) upstairs and Lori the pretty actress neighbor & friend downstairs; the relationship of Lori and Justin (her bed fellow and live-in boyfriend); the ménage à trois between Michael, Lori and Justin; the relationship of Michael and Darcy the stranger; the relationship between the two women - Lori and Darcy (or Charlotte sometimes); the other triangle of Michael, Darcy and Lori, and not to miss the Darcy and Justin moments. On the surface, simple and quiet as Michael would have it (seemingly so) - there are a lot goings on what lies beneath.

"Charlotte Sometimes" may not be for everyone (NFE), but it's definitely a formidable mature feature film first from w-d, co-editor, and co-producer, Eric Byler. Bravo to him and the actors and crew of this film, and to VisionBox Pictures for taking on the distribution.

For contrast, try w-d James F. Robinson's 1998 romantic fantasy: "Still Breathing" with Brendan Fraser and Joanna Going. There's also w-d Alan Jacob's 1994 down to earth fairytale of a relationship: "Nina Takes a Lover" with Laura San Giacomo and Paul Rhys. Both I've comments posted on IMDb.

A subtle and complex experience. It runs as smooth as silk yet creates just enough tension to keep you on your seat. As in all great films, dialogue takes a back seat to the unspoken interaction amongst the characters who, without words, are able engage us and force us to see the universality of love, sex, betrayal and manipulation.

It is undoubtedly rare to see a western film with all Asian characters in major roles without being stereotypical or pushing an obvious socio-cultural theme. Uncommonly (and, personally, to my relief) race seems almost coincidental and, most importantly, apolitical. Yet, inevitably, because of this rarity, we can't but be intrigued as we watch these people behave as all Americans do, yet with a grace and refinement so unique to Asian culture. It leads us to explore and to question whether or not this cultural element actually affects the way these characters relate and live their lives and if the story would otherwise have taken a different course altogether. Food for thought.

"Charlotte" is remarkably powerful and engaging in its simplicity. Just beautiful to watch. Bravo.

"Charlotte Sometimes" addresses questions of love, intimacy and sex in ways that I've never seen before. The movie's characters say more by what they DON'T say rather than what we do.

Like the best movies, the script is cut to a minimum so that we may drink in how the characters are reacting rather than what they are saying. Sure, it's not a perfect film but it's very good.

I just saw this film on Sundance channel (TV). I thought it was an enjoyable film, the main character is a passive intellectual but I've known people like him and he rings true to this time (around 2002). The dialog is very believable, many things that are said aren't true, though the characters might want to believe they are.

These characters seem to be L.A. "slackers", though at least we see the main character at work upon occasion. He doesn't seem to take it very seriously, and his garage is the most laid back garage I've ever seen. The two girls seem to do little but travel and have sex. Would this story make more sense if it was set in Hawaii as opposed to Los Angeles? Perhaps.

Its a languid film but I think I learned something real from watching it. 7 out of 10.

Generally, slow-developing films tend to be spend a significant amount of time establishing characters and/or situations. This film doesn't. It just unwinds, slowly. It spends a lot of its time doing nothing, loitering on the screen. Characters who could have been interesting never are (memo to filmmakers, it is best not to have a main character who is the strong, silent type if ALL he is is strong and silent). Don't let your intellectual vanity convince you that there is more going on that meets the eye in this movie. It is simply waiting for a Polaroid that never develops.

Oh man, I hate movies that try soooo hard to be "indie films," like so many that popped up in the 90's (all forgotten, and none of them actually good, that I can remember).

This one is all about characters but has no heart whatsoever. It's empty. Pointless. Contrived. It's only concern is *looking* like an indie movie.

I was intrigued at first. But as the movie wore on, it was obvious there was nothing below the surface. I could almost see the director off to the side a great big "I'm so intellectual" look on his face. He ain't no Ang Lee, though, sorry. My suspicions were confirmed when watching the extras on the DVD. Every feature had a smug, self-congratulatory tone.

And, honestly, anything Roger Ebert endorses these days is worth avoiding at all cost.

I wouldn't be so hard on a movie like this if it wasn't such a sham, and if the creators weren't so high on themselves, totally neglecting the audience that has to sit through this CRAP.

Take the honest comments about this movie to heart (not the ones that are probably from people affiliated with this movie in some way) and spare yourself the wasted time and effort of watching this self-indulgent "indie masterpiece." Rent Fassbinder's "Ali: Fear Eat Soul" instead to see what a real masterpiece of simple film-making is.

"Charlotte Sometimes" tells the story of four Asian-Americans, two men and two women, and their interrelationships. Yeah, that's pretty much what this somber, plodding, laconic arthouse project is about and it only scratches the surface at that leaving the viewer feeling much like having just eaten an so much Chinese food...unsatisfied. If good stories make good films, "Charlotte Sometimes" is destined to wallow in the mire of the IMDB's bottom 100 list. However, for those who are more interested in execution than content, this brooding, darkish film is an excellent example of squeezing value out of the budget buck. If you're an average schmuck like me, pass on this one. (C)

Not your slam bang big budget action film by any means. If you're looking for a recent exemplar of the well crafted, low budget, independent film, this is it. It's the kind of film you might want to see by yourself so that there's no chance for comment or interruption. The characters gradually emerge, the plot thickens, and you're with it all the way. What a talented group of actors this is and the direction and cinematography are absolutely fascinating. My only complaints are that the music is sometime intrusive, disruptive and the tennis match is a little trite -- small criticisms for what is otherwise a really nice movie.

Saw this at the press screenings for the Asian American Film Festival in San Francisco, and like others I am baffled by the ratings here. There has been speculation it is sabotage -- the film is up for independent awards as we speak, which would make any saboteurs extremely small, insecure, mean and petty.

Regardless, the film revealed its story slowly, without a lot of the standard devices of plot and dialogue that are often all too apparent and call attention to the fact that this is a storytelling medium and not leaving you to the story itself. That was a pleasure to see.

There is not a lot of plot -- it could be summed up in two sentences, but devotion to those kinds of small incidents in our lives (which often turn out to have the largest impact) allows attention to nuance and subtlety, rather than the broad strokes that gloss over the texture and feeling in our lives.

If you can appreciate a film without car chases or explosions and a talky-type movie that chooses to reveal much of itself through the filmmaking and not dialogue, see this. If you're not that kind of moviegoer, this probably won't be playing near you anyway.

This is exactly the kind of quiet, complex storytelling that we all hope to find at the festivals. Films like this are the reason we turn away from the studio driven multiplex features in the first place. It is also one of the rare indies that doesn't try to overcompensate for it's low budget-ness with overzealous shaky-cam blocking. The filmmaker and his camera are present in the scenes just like a guest, like any one of us just sitting rapt, taking in the story. The first 15 minutes of the movie are interesting if unremarkable. But with the appearance of Jacqui Kim's character the film comes alive and gently lifts off, becoming steadily more engrossing straight through to the end. It is no wonder that she has been nominated for this year's Independent Spirit award. Everyone is entitled to their opinions, but I am truly baffled by the negative reviews that have been logged on IMDB. They seem utterly clueless. I'll have to side with Roger Ebert: This is a great film.

Charlotte SOmetimes really hit the mark in terms of defining the relationship dynamics of this generation with honesty and realism. I was very impressed with the maturity and depth the cast and director brought into this film. It seems to me that with the sparse dialogue and emphasis on body langauge and position and cast and director really had to give a personal performance drawing from experience and so on. I loved the simple sets and uncomplicated camera work because it reminded me a lot of the recent Taiwanese movies I liked. There have been comparisons to In The Mood For Love, but I think the most apt comparison is to the New Wave Taiwanese auteurs and especially Tsai Ming-Liang. Just that and a personal resonance made me love this film. I don'tknow if being Asian has to do with anything, but I definately will recommend this to my crew.

There is a genre that has been meditated on by masters like Rohmer, who shows us cruelty; Truffaut and Nichols, who show us charm and wit; Wong Kar Wai, who injects energy and boldness; Rafelson, who reveals the scars and dirt under the nails of his characters... Eric Byler has not only arrived at their level with Charlotte Sometimes, but has defined an entirely new standard for cinema using an Asian American palette and a fascinating directing style. Byler's tiny moves project microscopic human emotions involving love and pain that scream off the screen. This is an art piece that, given the respect it deserves, could revive a new wave of consciousness in terms of the way American cinema treats human interaction (on a level so close to reality that it frightens us). This film is also another push AGAINST a gate that constrains Asian American cinema to concentrate on it's Asian-ness, rather than its Human-ness. Please watch this important film.

I really enjoyed this movie - the characters were sophisticated and the relationships complex. I especially enjoyed that this movie treated me as an adult, it did not spoon feed me; rather, the movie left me thinking, so I could reach my own conclusions about the relationships between all four characters. The movie was extremely well done and I look forward to other work by Eric Byler.

I just watched this slow plodding go nowhere film, it put me to sleep. Maybe I was expecting something else from this indie wonder, a plot perhaps, something more than one note acting perhaps. Matt Westmore set as the "hunk" comes off like a dull ghost on the screen. Eugenia Yuan is quite attractive and shows some emotion and depth but she is up against the wall with nothing and NOONE to work with here. Jacqueline Kim seems as though every other line is a throw away, she never gives us more than the words on the page of the script. Michael Idemoto shows some signs of something happening but it never comes.. and I mean never. How sad. Why such hype on this slooooooooow indie that goes nowhere not so fast and I mean that. Is this what we have to look foward to out of the indie scene, lets hope not. ONE BIG YAWN!!! Ugghh, it was so frustrating to watch this one, the female actors here come off like brats and the male actors dull wimps. Save the three bucks on this rental. Maybe we will one day see Yuan in something worthy of watching again like THREE.

Why did I rent this DVD? Well, I was driving down the road a couple months ago and decided to Google up my childhood best friend from when I was 11-12.... Eric Byler. I had tried to find him a few years back to no avail. You'll notice in the movie that Cody Chestnutt has a Little League patch on one shoulder and Lori (I believe) wears a baseball shirt at one point. That's no accident, as Eric was our #1 pitcher and we may have made it to the world series if he had not broken his finger in practice after we won the VA state title. To think that our team picture was on the cover of a phone book back in 1984... crazy! I visited him in Hawaii in 1986 and lost touch afterwords and remember his discussions of how the locals there treated him differently as a 'Hapa' (Eric's mother is full blood Asian, although she grew up in the same neighborhood with his father in the U.S.) Anyway, it is no surprise to me that Eric went into writing and directing. He was a very interesting and creative kid and I still have some of his cartoons and a fond memory of the Purple Flower Joke.

As for the film, I can't give it extremely high marks, but it is very well made. See it if you want a different type of love story. My favorite low budget film is probably Blood Simple, which had both a love triangle and murder theme. The background music was really well done in that film and I give Eric very high marks for his scoring of CS.

Not only does this film capture the subtle dynamics of four intertwined people in intimate relationships, but it is ground-breaking in revealing the cultural context of Los Angeles based Asian-Americans. The acting and directing are superb...and the DVD Q&A with Roger Ebert is worth a look.

What a pleasure to watch this film!

This was a good film, but it has flaws.

Visually it's got problems because much of it was shot on digital. I suppose they ran out of money, but it's a shame they couldn't use film. There were some interesting shots but the discipline of film would have had them making sure the light readings were carefully evaluated rather than what happened: the typical low quality of digital, but with even muddier shots than normal for digital.

Now, on to the story: very interesting plot. And interesting characters. I felt they were real people. But the two actresses did a better job than the actors. Not that I didn't think the Michael character was that unbelievable. But he wasn't given lines to show any range of emotion. Of course his character is SUPPOSED to be subdued and pensive, but all people have a range of emotions within their personal boundaries and the Michael character didn't test them.

The different takes on sex give you a lot to think about. But there could have been a little more irony/human condition/redemption...something in the story to give us more to ponder about. But there WAS something there. I left the theatre thinking about how there are more chaste individuals and more "alpha" individuals but how they can sometimes drift into the opposite directions. Specifically in this film how Michael unexpectedly responds to "Do you want to make love?" with "No. I want to f*ck you hard." Contrast that with the sexually confident Justin, who has to deal with one of those "criers after sex" on a one-night-stand and contemplate alone in a car later just what he lost with his current girlfriend.

6 out of 10 because it kept me thinking and I'm confident that both the director and actor/actresses have the talent to create even better art in the future.

I saw this film at the Asian American Film Festival in San Francisco. I think this new director has a future in film-making. To put up a first feature that is not plot driven or is not a formulaic comedy looking for easy adulation definitely took guts on the director/writer's part. It meant that he was willing to put money on the line (mostly his family's) to make a film that he believed in rather than one he knew would break even or make a small profit.

I haven't read the other reviews but seeing that the average was 2.2 when I first brought the rating up was kind of shocking. Then I saw from one of the more recent reviewers that it was sabotage and I can only believe that that is the case. This is deserving of a rating in the 7's. Pay no attention to the 2.2 - that is a fabrication.

If I had to articulate why I liked this movie, which is really a character study more than anything else (and I love character studies - maybe it's why, in fine art, I like still lives, too), it is because it is so true to the characters. There is a review below which says it is like watching a polaroid that never develops. I actually think that might grab the essence of my thoughts, too, but to me that is positive criticism whereas that other reviewer is using it as a negative. It's positive because that conception is the way life is and there is no real need for it TO develop. It is a snapshot of a point in time of the lives of these 4 characters and that, to me, is enough as long as it is done with quality.

I was not sure why I liked the movie at first: the dialogue is simplistic, there is no real plot to speak of, and there are no special effects (which I have really come to detest in movies anyway). Afterwards, I realized it was because the situations that the characters were put in and the way they responded to those situations was so true. It wasn't hollywood-ized or contrived in any way. Of course it helps that there were some interesting and intriguing characters along the way (especially Charlotte/Darcy). I was kept rapt by the action because I wanted to find out how each character would respond to each situation presented and, in every case, it was so natural and easy and, most important of all, believable, that it was gratifying to watch. That is a testament not only to Eric Byler's direction but his writing as well.

I hope Mr. Byler doesn't sell out and that he continues along this path. It renews my faith in movie-going that young directors are able to create films like this. This is not a perfect movie but it is certainly cast in the right direction. I hope to see more from this director and I suspect I will not be disappointed.

I viewed this movie at the Hawaii Film Festival and felt is was one of the more impressive films. It was extremely well done and all the characters were well portrayed. I liked the way that everything was understated in subtle ways.