CORPORATE LINE: Director Jacob Estes’s feature film debut is a remarkably accomplished coming of age drama about death and consequences. When overweight, emotionally troubled George (Josh Peck) beats up a smaller kid named Sam (Rory Culkin) one time too many, his older brother Rocky (Trevor Morgan) and Rocky’s wrong-side-of-the-tracks pal (Scott Mechlowicz) decide to teach George a lesson. Along with their friend Clyde (Ryan Kelley)–who was once the brunt of George’s violence himself–they bring George on a boat trip with a cruel prank in mind. Sam brings his love interest, Milly (Carly Schroeder), who tries to stop the plan when she decides George is a nice guy after all. Tragic things happen nonetheless with the slow, languid rhythm of life in a small Oregon town. Along the way, Estes manages to capture many fine moments of poetic realism like the stillness of the forest around the river, the swirling eddies along the shore, a snail crawling along a leaf, and a drowning video camera. Cinematographer Sharone Meir uses color filters and washed-out film stock to make everything glow with faded colors like old family photographs. The dialogue feels natural and the acting is precise; Estes obviously loves his cast and allows plenty of time and space for their characters to breathe, think, and be the confused kids they’re meant to be.
THE GOOD: The scenery is gorgeous—at some points it feels like an art film. Yes it does distract and waste screen time, as the film tends to drag along—but it is beautiful nonetheless.
It is beautiful against a backdrop of a tension that lasts from the first moment the film begins. Even though we can figure out everything that is going to happen you still find yourself tensing up and hoping that these kids do what is right. Ultimately it’s about making the right decisions no matter the consequences.
you would never know this is a new cast. They are brilliant and you have to wonder if we aren’t watching the next “The Outsiders” full of a cast of the future.
THE BAD: Even though it falls short of ninety-minutes, Mean Creek drags. The art is the beautifully shot scenery but starts to wear on you after a while. You wonder if you are watching a documentary about the slow life on the river or a movie.
FRANKLY: Mean Creek isn’t “Stand By Me”. It lacks the brilliant dialogue, and tenderness—however what doesn’t make it “Stand By Me” is also what makes the film unique. Mean Creek is raw and ultimately painful to the end. If only we had closure.
+ Charlie Craine
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