FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Rob Reiner |||
Rob Reiner

Son of comic genius Carl Reiner, Rob Reiner has picked up the family torch and directed some of the most memorable, quotable, and endearing comedies of the last two decades, and he’s no schmuck when it comes to dramas either.

This is a hilarious spoof filled with biting satire about a filmmaker making a documentary (or “rockumentary” if you will) about a once famous raucous British heavy metal band on a disastrous U.S concert tour, featuring the magnificent talents of co-stars/co-scripters Christopher Guest, Michael McKean and Harry Shearer. This granddaddy of the mocumentary speaks to the hard rockin’, air guitar playing 14-year-old boy in us all.

In this low-key sleeper hit based on a Stephen King story four young boys in 1959 Oregon set out on a camping trip in order to see a dead body one of them accidentally found. This is a loving memoir to a simpler time with an exceptionally talented young cast tentatively taking the steps on a road that leads to maturity.

Reiner turns a wry, even caustic, eye on men and women in friendship and in love, and that gray area in between. This is an engaging and smartly performed comedy about a pair of longtime platonic friends who turn a feud into a lasting friendship, determined not to let sex mess up a great relationship, until love threatens to ruin everything.

Recommended by CarrieSpecht

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The Woodsman

By BrianOrndorf

January 13th, 2005

Self-consciously low-tech, the independent production “The Woodsman” features a fine ensemble cast, and an interesting way to depict the untouchable topic of pedophilia. However, the film never grabs the audience the way it desires, with most of the conflict oddly falling flat.


Walter (a restrained, insular Kevin Bacon) has just been released from a 12-year prison stint for pedophilia. Cautiously adjusting to his new life on the outside, Walter struggles to handle his unfortunate apartment location (overlooking an elementary school), a new love (Kyra Sedgwick), a job where the employees (David Allen Grier, Eve) question his past, a cop (Mos Def, “The Italian Job”) who is relentless his in observance of Walter’s daily life, and his own dangerous sexual feelings, which rise to the forefront when he befriends a young girl (Hannah Pilkes) in a park.

“The Woodsman” has “Class of Sundance 2004” written all over. With a heady subject matter, low-tech, grainy production values, and a cast pocked with A and B list stars, this is a production that reeks of prototypical independent cinema, an equally admirable and woeful quality to have. “The Woodsman” is an original creation, but a faintly unremarkable motion picture.

Credit must be paid to writer/director Nicole Kassell (adapting the play by Steven Fechter) for taking on the subject of pedophilia in a manner that doesn’t have the fringes of a Lifetime movie or an Oprah special. “Woodsman” is an empathetic look at an offender’s place in society and difficult rehabilitation of his mind, not cutting many corners when it depicts the aggressive distaste some people find themselves feeling around Walter. If not a particularly engaging film, “Woodsman” is a fascinating one, delving into dark regions of human reaction to an utterly despicable figure. With the central idea, Kassell is confident in her portrayal of Walter’s torment, as he attempts to rebuild his life, cope with his first taste of adult sexuality in some time, and his desperation in trying to suppress old feelings toward the children he meets in everyday life (smartly realized by Bacon). There’s a great deal of turmoil to be mined here, and Kassell’s finds the right mood to keep Walter’s internal struggle gripping, yet not completely ick out the audience.

The narrative for “The Woodsman” is not nearly as strong as its emotions. The story starts out well enough, with Kassell introducing Walter as an unwilling observer of a local elementary school, building conflict quietly when Walter spies a potential pedophile working the area. While more conventional in design, this idea is ripe for exploration, which frustratingly never comes. “Woodsman” is a character film, allowing great leeway for the actors to find their roles and set the pace. This leaves the picture with an odd unfinished feel, made more perceptible by the film’s brief 80 minute running time and the plethora of name actors who are given very little to do. “Woodsman” is an interesting look into a fractured, tormented mind, yet it falls below the truly enveloping, harrowing experience the film unfortunately only hints at.

My rating: C+