 | 映画原題: Freedomland [ 映画邦題: フリーダムランド] : 話題注目作劇場公開映画 |  | |  |  | |  | Freedomland : Hollywood Cinema Director : シネマ作品監督紹介 | | Freedomland : Actor [CAST・CREW] : アクター・アクトレス(男優・女優・声優)&ミュージシャン・アーティスト紹介 | | Freedomland : 本国映画ライターによる映画の内容 with イングリッシュ : English Description of Story |  |  |  |  | Amazon.com:There are an abundance of outstanding performances in the uneven dramatic thriller Freedomland, with leads Samuel L. Jackson and Julianne Moore leading the way for a string of strong actors. The disappointment comes in the telling of the tale and getting all those performances on the same page. The movie is based on a dense novel by the talented and highly acclaimed writer Richard Price (who adapted the screenplay); the setting is a fictional town in Northern New Jersey and the low-income housing complex at its heart. As a housing project cop who's respected for keeping the peace and being fair with the residents, Lorenzo Council (Jackson) stumbles onto the case of an apparent carjacking and child abduction one night that throws the projects into turmoil. But there's something fishy in the details Brenda Martin (Moore) slowly brings to light regarding her abductor and her missing child. Jackson and Moore deliver a series of superbly nuanced monologues with varying degrees of passion, but the story can't always keep up with their talky exposition. Most of the burden lies with director Joe Roth, who sometimes finds it hard to make the intricacies of Price's screenplay lively enough. Even so, Freedomland is a serious commentary about racial tension and personal emotion. Supporting players Edie Falco (of The Sopranos fame) and the grandly aging character actor William Forsythe as Lorenzo's partner add greatly to this valiant attempt at a deep dramatic statement. --Ted Fry |  |  |  |  | | | | | Freedomland : 現地ハリウッド市民の評価 : 英語批評版 : Native Evaluation | | | | |  Not very original / 2006-03-01
Was it yesterday that i saw this on the news? Maybe it was last month, no,,,i take it back it was 6 days ago i'm sure i saw this on the 6 o'clock news. Basically what i'm saying is it just reminded me of everyday life living in America. A sick story is a sick story real or created. Maybe we are getting to use to all the violence and hatred that America has become and so this movie almost turns into a comedy. Besides, when i go to the movies i just want to escape all the horrible things that are going on in the world and be entertained. Not to give the person sitting next to me an idea. We're living in bad-enough times already without having to see more of it on the big screen. | | | | | | | | | | | |  An interesting, bloated misfire marred by Ms. Moore's hysterics / 2006-02-27
It's been 14 years, more than 30 movies and four Academy Award nominations since Julianne Moore was the sexiest thing in "The Hand That Rocks The Cradle" and she's never hacked like she does in "Freedomland" as a single mom named Brenda, who wanders into a hospital with stigmata wounds on her hands, the apparent victim of a carjacking. The movie's a mess anyhow but Moore's histrionic, nearly autistic performance gnaws at the high points of Richard Price's screenplay, and the strong supporting work from Samuel L Jackson and Edie Falco.
Based on Price's novel, Jackson stars as Lorenzo "Big Daddy" Council, lead homicide detective in Price's fictional Dempsy, N.J., a burned-out mini-ghetto next door to the whiter, middle-class Gannon. Lorenzo falls into an asthmatic fit when Brenda describes a black man who must have come from a local project house to rob her car and drive off with her son. Complicating matters: Her brother Danny (Ron Eldard) is a Gannon cop who threatens to "lock down" the project " like East (expletive) Berlin." Lorenzo's boss has similar ideas when he tosses renters out of their apartments for a full-building search. Outside the crowd remains, boiling to a riotous froth.
Based on the Susan Smith murders - the South Carolina woman concocted a carjacking tale before she admitted, after relentless questioning, that she drowned her children - "Freedomland" chugs on a dual-engine: The investigation into Cody's dubious kidnapping; and the rising racial tension between the cops and the housing project. The plots have several blights - What happened to the car? What's Danny's role? How likely is Brenda's revelatory connection to one of the tenants? - but Price has a talent for street dialogue, and his script pays close attention to the vocal rhythms of the working class - black and white - its use of profanity, its razor-thin trust in anyone, and the need to self-fulfill fears of the other.
Underneath all of "Freedomland" runs a doomsday current of a world too broken to ever reconcile all the festering guilt and pain; whatever Brenda's done, she's seems to have been ritually punished for it already. Maybe that's why Price has Lorenzo talking plainly about his faith in two scenes. It's the last ladder out of the sewer. But he is caught in between his people and Brenda, who is certainly lying, but is not necessarily a killer. Jackson, paunchy and aging, dials down his usual barking cadence to create a thoughtful, tired man. He leans on Brenda, he presses her gently, he assigns her a personal comforter, and he eventually relies on Karen Colluci (Falco, in the Frances McDormand role), leader of Friends of Kent, a group of moms who find lost children.
It's Karen who eventually reaches through Brenda's hysterical sludge in one of the few scenes Joe Roth directs with the austerity it deserves. But he generally lets Moore put pickles on the goulash, the result of which are several different personas: This one speaks with a vaguely southern accent with broken diction, while another one says " I over-abstained, you see," while a third rocks and twirls about like some neurological case. Moore depicts dawning madness as a method buffet that reminds of me of Brittany Murphy's babble in "Don't Say A Word," and Anthony Hopkins' last scene in "Titus," when he thought he was going to retire, and chose to announce it by miming several of his favorite actors. He concluded by flipping off the camera.
| | | | | | | | | | | | Don't waste time or money / 2006-02-24
This movie has more plot lines than an elm tree has branches. Movie goers are left wondering if the movie was suppose to be about race-relations, racial profiling, missing children, good cop/bad cop, or a mystery about an abandon orphanage. Samual L Jackson and Julianna Moore are great actors but are unable to pull it off in this picture that can only be labelled "a mess." It was long, drawn out and confusing. Go see ANYTHING else instead. I wouldn't even rent it when it come out on DVD, which as bad as this movie was, should be next week.
| | | | | | | | | | | | Oscar would never fall for this "bait".... / 2006-02-19
I went to this movie solely for the performances of Sam Jackson and Julianne Moore...And with the hope that the movie would be amazingly written and soar high above it's TV movie premise. Nope.
Every stereotype of every movie and TV crime drama that you've seen dealing with a race, crime and an angry black community versus police is right here... with no deviation. Or elevation.
The thing that bothered me about the other reviews on this movie was that they'd mention Freedomland's 'commentary on race' without adding the neccesary "stale" before the word "commentary". If you've seen movies that deal with the subject matter in this movie and you think you know what is going to happen in this movie...YOU ARE EXACTLY RIGHT. Every cliche and stereotype you can think of with the themes of ' poor black community versus the cops' is right here:
Angry, abusive young black men who are like children, angry bitter black women who are more like mothers than mates to their lovers, the angry ghetto citizens versus the cops, Angry riot scene, the angry brother cop, an almost monolithic angry black community who move as one (like the Borg in Star Trek) and incompetent superiors in the police department...
And Sam Jackson...Angry as usual. Though less so than past performances. He's mellowed. I liked him and his performance, but he isn't breaking any ground or giving a "balls to the walll" performance here.
Also, if you think you know who's responsible for the boy's dissapearance from the first two minutes of the movie (during the opening credits, no less), then you're right in that assumption, too.
Julianne Moore..was annoying. But I blame the writers. I believe Moore took one look at the script and said "This character is grating and the dialogue sucks...I have to go over the top with this to make it interesting". Her decision to go over the top grated even more. I was dissapointed with her character and the decisions she HAD to make as an actress. Her diatribes were contrived, and while it may have been conceived as oscar bait, it is not oscar-bait, because it is sooo corny. Oscar wouldn't go near that. The only good thing that can come from that acting caper is that it may end the streak of actors who get nominated for Oscar by playing a mentally challenged character.
The movie would've gotten 2 and a half stars, but a half a star is taken away for Julianne Moore's awful character and performance and a whole star is subtracted because this movie wasn't written; it was photocopied from other scripts about unrest in the black community.
Nit picks:
1)One of the characters makes a decision that will bring hell down on this ghetto project, even though that person knows the people in this project and supposedly has nothing against them.
2)You know how, in the movies when a character has just awakened after a hell of a night, just had the fight of her life or is on her death bed, but the actress looks like she's just had her makeup applied perfectly and her hair 'messed up' in a perfectly sexy style? You think "that's unrealistic".
I used to think that. But looking at this movie, with most of the women (with the exception of Anjanue Ellis..The woman is fine) looking like utter hell, I was thinking...put some makeup on her please. The makeup people went out of their way to make everyone look plain, pale and sickly. Moore, who I think is beautiful, looked like Gollum in this movie.
3)At one point in the movie Sam Jackson goes to visit his grown son, who is in prison. The boy has a horrendous tattoo of Tupac on his arm and says "I was gonna get Tiger Woods, but that wouldn't have went down to well with the brothers in here." I don't think a picture of *any* man on your arm is gonna go down too well in prison. Or anywhere else for that matter.
4)When Edie Falco,(who plays the mother of a kid who's been missing over a decade) hypothetically begs her son's killer to tell her where her son's body is, and she changes the name of the killer in the middle of her speech, it's supposed to be a breathtaking moment, but it is contrived.
(Still, Falco won me over. She is a brilliant actress that could do that with the superfluous speeches she's given.)
5.) The race riot that happens at the end of the movie doesn't make sense. At the start of the movie, the cops shut down the projects because a white kid was presumed to kidnapped in that community. But the crime that brought them there had been solved near the end of the film. However, some of cops were still in the projects, surrounding that community. There should have been no battalion of police in riot gear outside that project, and no riot. But since this is a cliche movie, we had to have the cliche riot.
This movie was as stale as four day old popcorn. Pure TV Movie tedium. I wasted my money going to see this film. I won't underestimate my ability to read a film from the previews next time. | | | | | | | | | | | |  2.5 stars for this fascinating mess / 2006-02-18
This is a movie full of lofty, important ideas...in its own mind. Because there are so many twists, it's difficult to talk about it all without spoiling things...but let's just say it FREEDOMLAND thinks it has earth-shattering things to say about race relations, missing children, mental-illness and so forth.
It starts out well enough. We meet Samual Jackson, a tough-talking but secretly sensitive cop who seems to be personally responsible for all police work done in a poor project. He knows everyone personally in this run-down complex, and they know him and expect him to look out for them. He's called to interview a dazed and bloodied woman who has wandered into the local hospital, apparently the victim of a carjacking. The woman, played by Julianne Moore, is clearly in shock, and it takes awhile for her to reveal (or remember)that her 4-year-old son was asleep in the backseat when the car was taken. Jackson mobilizes the police, and then it turns out that Moore's brother (Ron Ellard) is a cop from another district, who decides he wants to run the investigation his way, by totalling shutting off the black projects from the rest of the world, essentially putting its residents into house arrest. Unrest begins to foment.
That's enough of a setup for a tense movie right there, but it gets clumsy and confused from there. We think we're watching a thriller...but it isn't really. We think confrontation is coming between Ellard and Jackson, but the brother's character almost totally disappears from the movie.
Instead, as Jackson becomes more suspicious of Moore's story...it becomes a rumination of sorts on the plight of missing children. Edie Falco is introduced as the leader of a group of "concerned parents" who dedicate themselves to finding missing kids.
I think I'd better stop there with plot details...just in case you decide to see this jumble of ideas masquerading as a meaningful movie.
Jackson, Moore and Falco all have long speeches at various times in the film, all clearly conceived to be used as clips to be shown during awards shows. The actors are then allowed to indulge themselves by chewing into the scenery along with the lines they must deliver. All three are fine actors, but here the script betrays them. Moore comes off the worst...her character is established as a simple woman (with a thick inner-city accent) who might be bordering on mentally challenged. Or is she simply hysterical from the shock of what's happened to her son? We never know for certain, but when she launches into one of her lengthy, Oscar-bait speeches...she suddenly becomes a poet of sorts, full of amazing insights into her own plight and capable of sweeping rhetoric. Not a moment of it is believable or moving. Falco doesn't fare much better during one scene where she sits close to Moore and tries to draw her out. The subject she is discussing (the loss of her own child) is painful, but the speech is like nothing a real person would actually ever say. Jackson also has some purple prose to contend with, but it is slightly more credible...although by the time the movie is nearing its end, we're pretty tired of his wisdom and sensitivity.
Frankly, we're just tired of the whole thing. It feels like a three hour movie...although it's less than 2 hours. It feels like a movie that SHOULD have left the viewer moved and thoughtful...but I was left totally cold, and my gauge of the audience's reaction leads me to believe most of them felt the same. "What was that?" was my primary thought at the end. All these great actors, totally wasted, and all these important issues forced together in an unpleasing way that allows none of them to resonate.
I see no reason for anyone to see this film. I hate to say that about a movie with two of my favorite actors, but it's best just to forget it and move on. | | | | | | | | 
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