Off the Map (2005)

Thanks for the memories!

Sorry, this movie sucks

It's entirely possible that sending the audience out feeling lousy was intentional

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

I really enjoyed the relaxed nature of this film. Moving back from the edge of my seat for a change, I found I was able to simply observe a lovely story. In some ways it resembles "An Unfinished Life" - same kind of locale in the U.S. SW outback and a family-life storyline - however I enjoyed this one much more and thought AFL resembled more a movie-of-the-week. I think young Bo's character (only child 12 yr old growing up in the middle of nowhere) is the central piece here and in that regard her character development, particularly in the second half, looked like it really wanted to go somewhere (e.g. coyote) but it never fully made the trip. I wonder what the play script did at that point in the story.High marks for feel goodness without being sappy, lovely cinematography, very good acting and direction for the most part.

I am an action buff but this movie had me mesmerized from the first scene. The Groden family lives in solitude in a remote and mystical part of New Mexico. Charley Groden (Sam Elliot) is depressed, his daughter Bo (Valentina de Angelis) is witty, and his wife Arlene (Joan Allen) is spiritually in touch with her surroundings. Sam Elliot's portrayal of a veteran with depression was very convincing. To add to that, it was so refreshing to see the young Bo exhibit such wit in her attempt to have some kind of contact with the outside world. The Groden's are visited one day by the IRS auditor, William Gibb, played by Jim True-Frost. As he walks onto their little farm, William views a naked Arlene in her garden. That event changed the course of William's life, and started a cascade of events that altered the lives of the Groden's forever. New Mexico and the Groden's took William from the life he knew and swallowed him into a life of simple existence in a seemingly magical place. Just as William lost himself in Groden's corner of New Mexico, so was I lost in this movie. A must see!

I predict great things for the career of Valentina de Angelis. Judging by her IMDb listing, she's turning into a real beauty, and judging by her performance as young Bo in "Off the Map," in which she shines like I haven't seen a young actress do since Reese Witherspoon's debut in "Man in the Moon," or perhaps Natalie Portman in "Léon" aka "The Professional," Ms. de Angelis has a bright future ahead of her, whether she chooses to pursue acting, modeling, or anything else. I'm getting the idea she's put schoolwork first, which I applaud, but I sure hope she returns to acting when she's ready. She's a keeper.None of which is meant to overlook the superb performances of the rest of the cast in this Joan Ackerman screen adaptation of her own play, which is equally superbly directed by Cameron Scott, George C.'s actor son. I can't recall a single false note in the entire production. Joan Allen demonstrates her tremendous versatility as the back-to-nature earthmother who, along with depressed husband, Charley (Sam Elliott), sparks and nurtures the artistic rebirth of a neophyte IRS agent (Jim True-Frost, a Steppenwolf Theatre alum, along with Ms. Allen) who has come to their New Mexico farm to investigate unfiled tax returns. The resultant transformations of love and loss make for a beautifully conceived and executed film. Everything from Juan Ruiz Anchia's careful cinematography to Gary DeMichele's evocative score to all the rest of the many hands that helped craft this overlooked cinematic jewel rings true. This is pure and honest storytelling at its best.Barely scratching out a box office of a mil, "Off the Map" seems so far to have found only an older audience more interested in films that explore the human heart. Sadly, it hasn't dented the under-18 set, at least not on the IMDb, and likely never will, not being an action or SFX popcorn-muncher. More is the loss for them.I won't say much more. Other commentators have amply described the intricacies of the story. I'll note that J.K. Simmons' chameleon performance as George is remarkable, a polar opposite from his apoplectic J.J. Jameson in the "Spiderman" series. I'll also note that the few pervs drawn to the film because they heard Joan Allen gets naked will be disappointed in the lack of sexuality in the scene (that's not what it's about), but will still be pleased by what they get to see; the lady is firm proof that fifty can be nifty.

Quickly, any film possessed of Joan Allen has a healthy shove in the right direction. Here, the screenplay by Joan Ackermann of her own play, the direction by Campbell Scott, and the unerring freshness and originality of the tale, offer enticing entertainment. A supporting cast embellishes Allen's lead beautifully, most notably Jim True-Frost, too infrequently seen on film, and Sam Elliott, who used to be around far more often. True-Frost is a member of the terrific cast of the HBO series "The Wire," applauded by critics, except, notably, those idiots who hand out establishment-infested awards. Too bad, that; but typical. And this film has drawn only that same kind of attention. A good thing, come to think of it, that.