Don't Come Knocking (2005)

"Don't Come Knocking" is the incredibly boring story of a washed up cowboy movie actor's attempt to escape from the role he plays in real life. Unfortunately, we the audience are taken along on his mundane quest to nowhere. Solid production quality does nothing to help this humorless, dreary odyssey. The acting is good, but the drama is forced and the lines are often downright silly. Tim Roth's performance as the eccentric bounty hunter sent to retrieve the AWOL actor is simply weird, even by his standards. I was unable to care about any character in the movie - not a single one! In the end, I was hoping an asteroid would suddenly appear and strike Butte Montana, killing all the characters there. That, would have be the best way to end this pretentious movie.

Fmovies: Twenty years after "Paris, Texas", Sam Shepard returns with a sequel. Again, a family affair, our hero is searching for his roots in little towns and deserted landscapes.

The production shines from multiple angles. A superb set of actors, and Shepard's own fine performance as Howard -– a Westerns' actor of faded glory -- is almost eclipsed by (his life partner) Jessica Lange as the estranged mother of his son, Gabriel Mann as Earl, the son, and Eva Marie Saint as his stately mother. Comical roles by Tim Roth as the taciturn Sutter, a bounty hunter, and Fairuza Balk as the hilarious Amber, Earl's girlfriend, save the film from turning overly melodramatic.

In addition to the cast, Franz Lustig's cinematography is precisely lit and fluctuates between extremely realistic point-of-view shots with nausea-evoking 360-degree turns and time compression shots. The soundtrack is beautiful and includes some original pieces, and the costume design shines as well (although few people would wear those flamboyantly elegant outfits in Montana).

Despite all of its artistic achievements – acting, cinematography, score, and design – Don't Come Knocking suffers from a weak story line. A tired cliché about the man who've seen it all, had it all, but was never completely happy, and thus he abandons everything in search of the mother he hasn't seen in 30 years, and later his old lover and unknown off-springs. In the end, of course, they are all good, forgiving buddies. Don't Come Knocking is Hollywood sugarcoated at heart, but comes with generous helping of superb cinema, Wenders's signature forte.

While filming "The Phanton of the Desert" in the middle of nowhere in Moab, Utah City, the washed-out veteran actor Howard Spence (Sam Shepard) has an existential crisis and leaves the location riding a horse. Howard was a famous cowboy in western movies in the past, but is decadent due to his reckless and explosive behavior, abusive use of booze and drugs and scandalous affairs with many women. Howard gets some money, destroys his credit cards, rents a car and takes a bus later to Elko, his hometown in Nevada. He meets his mother, who tells him that he has a son. He drives to Butte, Montana, where he finds the former waitress Doreen (Jessica Lange), her son Earl (Gabriel Mann), the mysterious Sky (Sarah Polley) with the ghosts he left behind and the life that he could have had. Meanwhile, the production calls the insurance company that sends the investigator Sutter (Tim Roth) to chase him.

"Don't Come Knocking" is an original and sad story about existential and identity crisis of a man that reaches the third age with his career and personal life in a complete mess, totally disconnected from family and friends and maybe missing a different lifestyle with a family of his own. He decides to meet his past, but always chased by his troubled present with younger women and alcohol. The direction of Wim Wenders is effective as usual, supported by engaging story, screenplay and dialogs in partnership with the lead actor Sam Shepard. The acting is top-notch, and the locations especially in the beginning and in the casino have magnificent cinematography. My vote is seven.

Title (Brazil): "Estrela Solitária" ("Lonely Star")

Don't Come Knocking fmovies. Wim Wenders and Sam Shepard let you walk in the boots of a guy who's stepping out of his pitiful daily life to face the past and find out how this can be both hard and rewarding. Wender's beautiful slow moving style to unfold the story lets you follow and feel what's going on within the "hero" and the people he encounters. The marvelous scenery of the West is shot to remind you of some scenes of "Thelma and Louise". The music blends in wonderfully. The interactions are almost every time worked out in every detail and dialogs sound so real you can imagine this to happen in your neighborhood. Last not least all of it is played by an outstanding group of actors making it very hard to decide who'd be your favorite which adds to complete the reason why this movie is excellent to me.

Funny scenes, laughter and deep emotions - if you're a lover of fast-food (movies) - don't go. You'd probably find it boring.

119 minutes – that's a relatively long runtime for a movie. But that doesn't have to mean it'll be boring. The sparse dialog in this movie isn't really what it's all about anyway. It's all about the emotions and the amazing pictures.

Sam Shepard portrays his role so wonderfully that you can sense his frustration with his life and his search for some meaning and his longing to change his ways.

Eva Marie Saint is equally adept at her portrayal of the old western actor's mom.

Jessica Lange, though, is truly outstanding. She steals the movie with one scene in particular and really deserves an award for her work in this film.

At the end of the day: this is Wim Wenders as we know him and as we like him best.

Don't Come Knocking (2005)

A disappointing attempt at gritty Western aura, movie insider savvy, and creative parallel plotting and editing. It has elements of camp, of post-modern drama (references to earlier movies or movie types), and even some genuine sincerity.

There is a terrific George Kennedy, who is still active and very much making movies with his over-sized persona. There are smaller roles by several women, including a wan and frankly dull if pretty Sarah Polley. And mostly there is Sam Shepard being Sam Shepard, which is pretty good stuff. But he plays a famous actor who walks off a cheesy movie shoot into reality, and for the rest of the movie is walking as if in a dream through a reality he never quite knew existed.

I think this looked great on paper. At least until someone read the script. It just doesn't hold water, partly for the simple fact that we couldn't care less about most of these folk. In particular, the movie makers, the directors and execs are playing meaningless roles that might mean something to insiders, but to the rest of us (I'm not an insider, thankfully), it's self-indulgent and, well, boring.

What works best? Well, since the story pushes you out you look at the performances straight up, and some, like Shepard's, are strong (he reminds me of Woody Harrelson in this film, for some reason). There's the music (by T-Bone Burnett), an often used electric guitar sound with a country twang that is appealing and sometimes even evocative. And there is the filming, which is unadorned and very nice, depending on some amazing scenes, and the light and color in them. If there is ever an Oscar for scouting, for period sets that hype up the truth of a certain period, this is a good candidate. Certainly the light is romantically appealing.

But I'm stretching to see the best in a plodding film that had potential and lost its velocity very early on.

It has to be added that the director, Wim Wenders, has done some amazing work, and has his own following. But he might be trying to cash in on "Paris, Texas" which has its own small cult following, and which at least has a quirky and disturbing element to it. Here it is mostly a matter of wandering in the modern wilderness, and Wenders, I really believe, is not quite in touch with what makes America America. It feels cold and superficial. See his "Wings of Desire" for a masterpiece. Here? Have patience. Oh...and enjoy the scenery!