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:noevil2: Packed full of spoilers (98% no kidding, you've been warned about using the link), here's a review of Main Street from yesterday's Cannes showing. In brief, it was not a thumbs up with no mention of Orlando's acting, other than to complain about the writing surrounding Orlando's character:
<snip>Mr. Bloom and Miss Tamblyn find themselves, like their characters, trapped in Foote’s subplot. Foote has created an ensemble drama and has done a poor job of truly weaving his subplot into his main story. This beginners mistake is out of character for such a celebrated writer and would have been caught in another draft of the script, however, my guess is Foote’s health did not permit another re-working, leaving us stuck with this draft. Doyle does a noble effort attempting to cover-up any plot holes by trying to link these two stories together, however, his theatrical background in the West End fails to aid Doyle in being successful.<snip>
:police: I'm still going to see it!

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Another take that Jules read at a blog (and wasn't sure she wanted to post it out here):

Main Street - great cast (Ellen Burstyn, Orlando Bloom to name a few) but we left after 30 mins into the film. BAD EDITING. TERRIBLE EDITING. Shots were misused, it should have started way later in the first scene, the opening montage was boring and repetetive. Could be great if it was edited properly

Good editing can help a lot - I hope so in this case.

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I don't know, ladies, things aren't looking very positive for this one.

Main Street, the movie, surfaces in Cannes

A little more than a year ago, there was a motion picture production in downtown Durham. Called Main Street, the film starred Colin Firth, Patricia Clarkson, Ellen Burstyn, Orlando Bloom and Amber Tamblyn.

But really, its strongest claim to being taken seriously was that the author of the screenplay was Horton Foote.

Foote, who died in March 2009, is a big deal this year on Broadway as his Orphans' Home Cycle had a triumphant limited run during the winter, prompting plans for its transfer to Broadway in the fall.

Still, that hasn't been enough to get much attention for Main Street, which appeared at Cannes last week, according to a couple of online sites. Main Street isn't listed on the Cannes website (and if you Google "main street" and "Cannes," you'll get nothing but hits for Stones in Exile, the documentary about the Rolling Stones 1972 album, Exile on Main St.). Instead, the film played at the market at Cannes, where hundreds of producers set up wildcat screenings in hopes of finding distribution for their films.

It's worth looking at the blog post written by one Jordan Overstreet and reposted on an Orlando Bloom fan site. The review recaps the story start to finish. Although there's a bit of a howler right at the top as Overstreet mistakenly writes that Foote based his script on Sinclair Lewis' novel Main Street, what follows is fairly exhaustive, and she seems to be well-versed in film language (like "B-story") and is comfortable criticizing Foote and John Doyle, the film's director, for some of their narrative decisions.

Overstreet notes that Foote "penned the screenplay after a weekend visit to Durham several years earlier, during which he found downtown to be completely empty." If the following passage from Overstreet's account is accurate, it appears that the town in the film is called "Durham."

The film, which marks Doyle’s first major motion picture venture, follows the intersecting lives of various members of the dying Durham community in upstate North Carolina. While home to the prestigious Duke University, a popular destination for many affluent Americans seeking higher education, Durham, as the film suggests, has not prospered in the influx of the nouveau riche; and this once vibrant empire of the North Carolina tobacco industry, has, like many small towns across the South, withered away.

This point is interesting because I interviewed David Linck, the unit publicist for the film, and he made a point of saying that real Durham was standing in for a fictitious Durham—that the community represented in the film would not be intended to be mistaken for real-life Durham. (He also told Kevin Davis and Barry Ragin much the same thing on their Shooting the Bull show.) That fine distinction seems to have been lost on this viewer, at the very least.

Main Street's version of Durham seems to be a place left bereft by the demise of the tobacco economy. Empty warehouses, empty streets, etc:

In Foote’s “B” plot line, he explores the newest generation to enter the Durham workforce through the characters of Harris Parker (Bloom), a police officer by day and a law-student by night, and Mary Saunders (Tamblyn), a sectary in a law firm who is dating her much older and very married boss. Harris remains in Durham to support his aging mother, while Mary appears to be stuck in her fear to move away from Harris, who is her high school sweetheart. Through this entrapment, Foote attempts to explain the loss of the Durham workforce—the kids are just moving away.

Overstreet offers thoughts on the lead performances before concluding that the film is a failure, but perhaps one that will survive nonetheless:

With such a well-rounded cast, a script from Horton Foote, and an acclaimed Broadway director on board, Main Street should have been a success, yet it is a total disappointment. . Perhaps if Doyle or Foote had factored in the thoughts of the audience, a very different film would have been produced; one that would have held my attention. Despite this, Doyle is successful in his overall goal of suggesting that sometimes death is the only means for survival. I wonder if the death of Main Street at the box office will help it survive, Mr. Doyle?

Another blogger's assessment was shorter and harsher:

Main Street - great cast (Ellen Burstyn, Orlando Bloom to name a few) but we left after 30 mins into the film. BAD EDITING. TERRIBLE EDITING. Shots were misused, it should have started way later in the first scene, the opening montage was boring and repetetive. Could be great if it was edited properly

The complaints about the editing and pacing make me think that the film may, in fact, resemble other Horton Foote-scripted films—like Tender Mercies and The Trip to Bountiful, two excellent films that are also, at times, maddeningly slow.

Despite the concerns of some that the movie might damage Durham's hopes of becoming a mecca for smart, cultured people, there seems to be little for civic boosters to worry about considering that Main Street hasn't generated much more interest than these humble online reviews—faint, dismissive ripples in the movie blogosphere. Those who treasure Foote's work, however, will have to hope that Main Street will somehow see the light of day, even if it's only an unsuccessful curiosity.

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Main Street set for opening night

Plot details ahead!

When Gus Leroy promises that the city of Durham, NC, could become the future site of a larger waste depository that, while enriching the town, would place all of it inhabitants in peril, every citizen of MAIN STREET will have to make this decision: "Do I do what is right, or what is needed?"

MAIN STREET, Horton Foote's final screenplay prior to his death in March 2009, is a legacy to all small towns, focusing on the dreams and aspirations of everyday people and reflecting his upbringing in the small town of Wharton, Texas. It makes its world premiere at 9:30 p.m. Thursday, Oct. 21 at the Austin (Texas) Film Festival in the Paramount Theatre in downtown Austin.

Filmed entirely in Durham, MAIN STREET follows several Durham residents and newcomers and their intertwining stories, which will intersect in ways none of them could ever imagine at an essential juncture in their lives. Georgiana Carr (Ellen Burstyn), one of the last members of a once-powerful Durham tobacco manufacturing family, is facing the prospect of losing her family's mansion because of the world's fallen economy. In desperation, she agrees to lease her family's empty downtown tobacco warehouse to Gus Leroy (Colin Firth), a Texan representing a waste storage conglomerate.

Prodded by her grown niece Willa (Patricia Clarkson), Georgiana discovers that toxic waste has been placed in her warehouse by Leroy and is guarded by a group of wary Mexican workmen. Alarmed, she calls local police officer Harris Parker (Orlando Bloom) to investigate. Parker, a local boy also studying for his law degree, is distracted by his longing for high school first love Mary Saunders (Amber Tamblyn), a young woman yearning to leave her job in nearby Raleigh for the prospects of living in a larger city (perhaps Atlanta) after a failed affair with a married co-worker, Howard Mercer (Andrew McCarthy).

Once Leroy's canisters of hazardous materials are discovered, their existence becomes a concern not only for Georgiana and Willa, but for the town.

MAIN STREET is typical of Foote's past film work (Tender Mercies, To Kill a Mockingbird, The Trip to Bountiful), exemplifying his love of simple folk and their beloved hometowns that led him to focus on the plight of Durham five years before filming took place. Foote was the inaugural recipient of the Austin Film Festival's Distinguished Screenwriter Award in 1995.

Tony Award-winning director John Doyle (the 2004 revival of Sweeney Todd) makes his feature film debut, with Donald M. McAlpine (Oscar nominee for Moulin Rouge!) serving as director of photography. Other members of the creative team include production designer Christopher Nowak (Before the Devil Knows You're Dead) and costume designer Gary Jones (Spider-Man 2). MAIN STREET is produced by Megan Ellison and Spencer Silna. Douglas Saylor Jr., Ted Schipper, and Adi Shankar are the executive producers.

Read more: http://losangeles.broadwayworld.com/articl.7#ixzz12d57yF00

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Well, I just got home from seeing "Main Street" at the Austin Film Festival. Karen and I met up at Chili's to dine and dish before heading downtown. We had to wait in a separate line while all those with badges and passes filed in first. Let me say, there were a lot of people there.

Before the movie started, one of the executive producers came on stage; I believe his name was Adi Shankar, hopefully, Karen can correct me if I'm wrong. He spoke very briefly before introducing Mr. Foote's daughter, Hallie. She also spoke briefly and thanked everyone for coming.

Now, I've been sitting here, reading the reviews from the screening at Cannes and I just don't get what they are talking about. They talk about the editing being choppy, the pacing being too slow, the yada-yada-yada--pooey, I loved it! I'll admit, I don't know a lot about films and such, but I know what I like and I liked this movie. This movie is a small slice of life of the people in this small town. It is a window into the life of a woman who has lived in this one town, in this one house all her life and is seeing it all being taken away from her. Her once comfortable life is no more and she is having to deal with losing, not just her house, but her way of life, the only life she's ever known. Ellen Burstyn was wonderful as Georgiana Carr, as was Patricia Clarkson as Willia, her long suffering but loving, niece.

Colin Firth was great, his accent was not over the top and----I must say, his character surprised me. I won't say anymore about that because it would spoil the film.

Amber was great as Harris's high school love, Mary, a young woman who wants out of Durham. There's a scene between Mary and Harris that will break your heart.

Orlando. What can I say, he was wonderful. Karen and I both agreed that he looked better on film than in the still pictures---if that's possible. (Sorry, a little fangirly there) Now, do not go by the accent he did in that little interview; in the film it is very believable and, like Collin's, was not over the top. We also agreed that he must have studied cops and their mannerism's because he had them down pat. From pulling the pen out of his belt and flipping open his notepad, to grabbing the mike in the patrol car and reporting his location. I know, I know, but it's the simple things that make me smile.

Again, I loved this movie. And, it does remind me of "The Trip to Bountiful". Not in content, but in feeling---and I thought is was a nice feeling.

I should also add that at the end of the movie they handed everyone a ballot and asked that you rate the movie from 1 to 5---along with some other information. I, of course, gave it a 5---hope a lot of others did to.

Um, and after reading this over, I would like to apologize for the excessive use of the word LIFE. :oops:

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Two reviews, one pretty positive, the other - well, not so much. Let's have the postive one first, shall we? :)

Austin Movie Blog

The last screenplay ever penned by the late Texas legend Horton Foote had is premiere Thursday night at the Paramount.

Directed by John Doyle, it’s called “Main Street,” and it has all the hallmarks of a gentle Foote tale.

Ellen Burstyn stars as a Georgiana Carr, a Durham, N.C., matron who lives in a gorgeous old mansion where she was born. She knows she can’t afford to continue to live there, because her income has grown meager over the many years. So when a stranger named Gus Leroy (Colin Firth) comes to her home and asks to rent one of the warehouses she owns, she agrees, no questions asked.

It turns out that Leroy is storing hazardous waste at the warehouse, however. And Georgiana’s niece Willa (Patricia Clarkson) isn’t amused.

As with many Foote tales, “Main Street” has a subplot focusing on a couple of younger people in Durham. Harris Parker (Orlando Bloom) works as a cop and attends law school at night. He’s trying to improve himself so that he can win back the love of his life, Mary (Amber Tamblyn).

Doyle weaves back and forth between the old and possibly new families with grace. But the pacing lags at times, seeming more like a play than a movie.

Still, the cast is excellent, and Burstyn still has the ability to amaze us with her fearless vulnerabilities.

Hallie Foote, the daughter of the screenwriter and playwright, introduced the movie to Austin audiences.

A.V. Club Austin

As entertaining as it was to watch Rosenthal’s creative frustrations play out over the course of 86 minutes, sometimes it’s relieving to know an artist was completely hands-off while others were busy botching his work. One of Main Street’s few positives is that its writer, Horton Foote, didn’t live to see his final screenplay translated into a stiffly acted piece of Capraesque fluff. However, if the finished product is any indication, this wasn’t one of Foote’s best scripts to begin with. There’s not much room for the ensemble of usually good-to-great actors—including Ellen Burstyn, Colin Firth, Patricia Clarkson, and Amber Tamblyn—to move among Main Street’s “death of an American city” exposition and bizarrely explanatory exchanges. (Just try not to sigh when cop-cum-law-student Orlando Bloom walks into a library and tells the librarian exactly what he’s there to research.) Not helping matters: Bloom’s and Firth’s outrageous Southern accents, which wouldn’t have pleased the proudly Texan Foote. Firth’s waste-disposal-supervisor-with-a-heart-of-gold isn’t destined to end up standing alongside past Foote protagonists like Atticus Finch and Mac Sledge—all the better for the legacy of the late screenwriter and playwright. [EA]

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Mr. McConaughey-hey-hey sounds like some Texans, but not all Texans.

And any REAL Texan would know that. Even Poopy Head Texans. :pbbb:

And yes, Jan. A "nice little movie" is exactly what it is.

I loved it.

Beverly described everything so well, that there isn't really much to add.

The one thing that surprised me was how much humor was included in the film. With the backdrop of a desperate city, I was expecting doom and gloom throughout, but was pleasantly surprised! Ellen Burstyn and Patricia Clarkson have some wonderful scenes together. Some heart wrenching, some hilarious. Patricia, as long suffering, and patient Willa, has an amazing dead pan that will make you laugh out loud, or sigh internally, right along with her.

Colin's character was deeper than expected. And he was very good as the slick Texas businessman.

And again, his accent was just fine Mr. Must-be-a-transplant-from-out-of-state-Poopy-Head. So there! (just wanted another excuse to use 'Poopy Head' again :shiny:)

And Orlando did a wonderful job! He seemed very comfortable both with the uniform, and with the accent. I will defer judgement to the girls from the True South, but it seemed pretty darned good to me.

He plays a frustrated son of a clingy mother, who just wants to get ahead. He wants to move forward, while dealing with her need to hold onto what she thinks is all she has left.her baby boy.

He has some very sweet scenes, and one that is nearly heartbreaking. He handled both beautifully.

His eyes really show what he is feeling in these moments. As Mr. Crowe once said, "the story is in his face". And what a face.

I really hope that this film gets picked up so that everyone can see him as Harris. (I also wish that I could type 'sound' . The way that Amber's character says his name is adorable.Ha-is? Har-is? Is comes out almost like a sigh. Too sweet. :sigh:)

If there is any way for you to see this film, see it! And pray for wide distribution!

I wish that more Roses could have made it, but Beverly and I had a great time! We didn't get lost, and I don't even think that I scared her too bad with my driving!

It's always so fun when we Sistas get together to catch up and gush!

FanGirl moment:

Something cute happened as we were exiting the theater.

There was a group of female ushers (do they still use the term "Usherette?) standing along one wall, talking about the film. These ladies looked to be in their late thirties or early forties. I overheard one of them say "that was Orlando Bloom, I hardly recognized him". Her friend answers "oh, I know, me too, and he is soooo handsome!".

I gave them a little thumbs up, but they didn't see me before we were swept away by the crowd.

Those gals have excellent taste!

They certainly are not Poopy Heads!

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Saturday was a perfect day to drive from the far northwest suburbs of Chicago to Indianapolis, see a sweet little movie with some guy named Orlando Bloom in it, and then drive home. We (HeySailor and I) had a leisurely lunch at a strip mall Mexican restaurant and then headed for the cinemaplex where Main Street, along with other Heartland Film Festival offerings, was showing.

When we arrived, we were thrilled to learn that screening was sold out! It showed twice during the festival, once on Friday evening and once on Saturday mid-afternoon. Arriving early, we nabbed a good view in the stadium seating section and watched the rest of the audience drift in. My impression was that most folks were 50+ and many were well into their sixties and seventies. That was interesting, as I'm not used to being the youngest person at a film screening (I always feel a little old sitting alone at a Harry Potter film among a zillion kids). :whistle:

We had a little drama before the movie, when an elderly woman entering the row just in front of us lost her balance as she tried to shuffle sideways along the seat row and went down. (I had flashbacks of my mom falling like that a year ago. Scary!) She said she wasn't injured, though, and stayed to watch the film. Whew.

I don't know who introduced the film, maybe Jill does? but he certainly had great voice projection. His words of welcome were so loud on the microphone that they about blew us all out of our seats! He even made a joke of it, saying, "Wow! That sure was loud. That even startled me, and it was inside my head!" He turned off the microphone and made his announcements. I am guessing he might be some kind of actor; he had a great voice and seemed very comfortable in front of a crowd.

The lights went down, the screen lit up, and very quickly, there was our dear Officer Harris Parker! And yes, in my opinion, he does look better on screen than in the Main Street photos I've seen. I found myself grinning a huge, :censor:-eating grin and continued to do so every time he appeared. I couldn't help myself! I felt like a mom at her child's first school play.

It was interesting to go back and read the critic's reviews previously placed in this thread, and also to see what the Texas contingent had to say compared to what I thought. The actors in the main plot and subplot were very good - Burstyn is spot-on as every little old southern lady you ever met, Clarkson was also excellent, and Firth as well. Firth actually played a Texan, I think, and his accent was acceptable, although it could have been just a tad broader. Orlando's accent was very good, I thought; he was much more comfortable with it than he was with the newscaster-plain American English of Elizabethtown. I agree that he played the cop attitude and physical presence quite well. It was a character that could have been easily overdone or caricatured. He was believable.

Some of the secondary actors, such as the town council and mayor, and a few others, seemed stiff and wooden to me, although that could be partly their dialogue, which in those parts wasn't scintillating, to say the least.

The film as a whole did have the feel of stage play to me. A lot seemed to be going on underneath the surface; a lot communicated in facial expressions and glances exchanged that went on for a few more beats that one usually sees in a film; deeper thoughts and feelings hinted at in statements made, but left for the viewer to speculate about.

The pacing of the film as a whole didn't work too well. It was much slower in the beginning, gradually building details and characters (hence references to the pace "dragging"), although I don't mind that, and then it began to speed up, building some tension, which worked OK but was done a little too theatrically (it was pretty obvious something climactic was about to happen), and then, as others have said, it wrapped up too quickly. It seemed almost to me as if they ran out of time to edit or rewrite or something, or even as though the ending was written by someone other than Foote. It felt to me like they left out another hour of the film; I wanted to see the characters a little more developed. The resolution of the dramatic tension was just too quick and not very believable.

It was interesting that one critic complained about bad editing and said they walked out of the film. I can't imagine anyone would want to walk out; despite its imperfections, the film draws you in and I was certainly invested in the characters quite quickly. Even if Orlando hadn't been in it, I would have wanted to stay to see how it all worked out. I'm no expert on editing, and perhaps the pacing problem was due to bad editing rather than bad writing. I don't know. I was fascinated by one part where tension was built by a series of cuts between three different characters and two different storylines; I thought it worked well and made it interesting. Others may well disagree! Again, it had a theatrical feel to it, which I didn't mind; I could almost imagine three tableaux on the stage and the lights coming up and down in turn on each group as they were featured.

Once again, Orlando had an opportunity to express deep emotion in a look, a tilt of the head, a gesture, and in his trademark intense, quiet style of delivery and it was very effective. Although his character could have been simple and one-dimensional, he didn't play it that way - it was definitely a "still waters run deep" thing going on. And oh, yes, he does get wet and looks gorgeous (although no skin to speak of, unless you count his head!), and we are treated to lots of long eyelashes and deep looks into those brown eyes. Although, of course, not nearly enough of them!!! :sigh:

As I said before, the film was over too soon. I definitely want to see it again, and to see this on DVD one day, perhaps recut, or with deleted scenes added in. I am sure there was plenty of good stuff that was not used. I also forgot to mention that I liked the music soundtrack, I thought it suited the film quite well.

According to the HFF website, a record 832 independent films were entered this year and a record 102 films were screened. Main Street was designated an Official Selection - Dramatic Feature film, so it was not competing for any of the cash prizes, but was eligible for the Audience Choice awards.

So, I was disappointed to learn that we would not be able to vote in the Audience Choice Awards! The "Closing Night" event is held on Friday night, so viewers watching the Saturday films are "lame ducks." Since we traveled so far to see just one film, that annoyed me, :angry: and I complained about it to the volunteers. She suggested I write to the Festival Committee, which I will, and we'll see if that does any good. I haven't found any mention of the winners of that award yet.

Well, that's my review! Was it worth an 8-hour drive? Sure! We had fun and enjoyed the film, and of course, Officer Parker! :police:

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I finally got to see 'Main Street'. It was touch and go for a while, I waited outside the Cinema, and my daughter waited outside the Cinemas , inside the building! Silly me!

On the understanding that 'Main Street' is what I thought would be a “thoughtful” movie, I went with my daughter. She is not a dedicated Orlando fan and so I was really pleased when she said she enjoyed the movie immensely. It was billed as ‘Australian Premiere’ not just ‘Festival Screening’.

It’s the simple enough story of the slow decay of a once prosperous town – this happens the world over - and the way in which a cross-section of the towns-folk from the Mayor and Councillors, (typically inadequate) the once wealthy tobacco heiress Georgiana whose family “owned” the town and her protective niece Willa, (brilliantly played IMO) to Harris the local Policeman, have to make sometimes painful decisions about changes in their lives in light of the promise of better days and revived good fortune being introduced by a stranger to the town. There is pathos and anger, despair and humour and the film takes its time to tell the story. For me, the subplots worked without having to be underscored too much with the main plot.

Many have said the movie is slow-paced. As I said, to me it is a thoughtful movie and I didn’t find the pace inordinately slow. Given the story-line, a frenzied romp would have been ludicrous. But then, I’m not a reviewer and am unable to speak knowledgeably about poor editing and the like. I just know that I enjoyed the film. I do agree though that the denouement was rushed to the extent it lost its impact. I would have liked the film to have been longer to give a more satisfying closure to some characters. Perhaps it will be slated for Distributorship after a review and the inclusion of scenes which may have been deleted at the end.

I’ve always enjoyed the performances of Ellen Burstyn and Patricia Clarkson. Colin Firth didn’t disappoint. Orlando? Well! He got rained on. :shiny: I’m not qualified to comment on his accent, but he really impressed me with his sympathetic handling of the role of Harris, who had some tight emotional situations to weather. To my mind, Orlando is unsurpassed at portraying conflicted personalities. Those speaking eyes of his do it every time! It was a pleasure to watch his portrayal of Harris.

I would dearly love to see this movie again.

Maybe with luck, and a following breeze, 'Main Street' will be taken up by a Distributorship or at least go to DVD release.

The movie had a reasonable attendance, the audience enjoyed the film's very occasional humour and stayed right through the credits - always a good sign I think.

Semmley

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I had the opportunity to see Main Street three times already on my local cable. The last 2 viewings are scheduled by the end of the month so I reckon this is the best time to share some of my thoughts about it.

Firstly, I’m still over the moon of having the pleasure to see one of Orlando’s latest films. :wub: It may have been a different experience in the big screen for sure but I’ll take what I can get. And if this comes to theaters in my area, I’d still be watching it definitely! As most of you said, it was a nice little film that needs a lot of love. In my opinion, we don’t get to see these kinds of films anymore. No sex, violence, explosions, etc. Just a sincere close looks at the everyday lives of people living in this small-town.

I agree that the pacing was slow at times and the tone does remind me a bit of To Kill a Mockingbird. I find some of the scenes between Georgiana and Willa redundant in a way. I felt like those scenes could’ve been edited and instead fleshes out Harris and Mary’s storyline more. :shiny:

Anyway, the performances were all top-notch. I’ve thoroughly enjoyed each of them at some point. Ellen Burstyn is the emotional heart of the film. Her relationship to Patricia is just endearing and funny at times like you’ve known them all your life. I know nothing about Southern accents. But Colin still sounded Brit to me. By the way, this channel provides embedded subtitles so I really didn’t have a hard time understanding every word they say especially Orlando’s. I thought his accent was believable. You really wouldn’t recognize him when you close your eyes. I also agree that he must have observed and studied cops’ attitudes and mannerisms. From the way he walks and talks, to the little gestures such as taking down notes and taking off his aviators, he had them down pat. :police: The relationship with his Mama (yes, he calls her that) does remind me of one he had in Haven. It’s a modest role for him. The vulnerability and simplicity of the character, he made it so relatable. He’s proved once again he can do those small characters and not just the larger than life characters most people were so accustomed to seeing him. I love how he’s all trying to manage and balance being a cop during the day, a law student at night, and dealing with his high school love at the same time. There’s one heartbreaking scene and a really sweet moment towards the end. I’m sure there was stuff that’s been left out judging from the set photos we have. Oh, and I wish he had more scenes with Colin.

“Dedicated to Horton Foote” was a nice touch in the end credits. I’m hoping that more ka-Bloomies around the world will have the chance to see this poignant film. And that a wide release is not too far away. :)

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