Moore is moving, but the film is a flogging fiasco.
Freedomland (2005)
Tomatometer
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Reviews Counted:146
Fresh:34
Rotten:112
Average Rating:4.6/10
Consensus: Poorly directed and overacted, Freedomland attempts to address sensitive race and class issues but its overzealousness misses the mark.
Rated: R [See Full Rating] for language and some violent content.
Runtime: 1 hr 53 mins
Genre: Dramas
Theatrical Release:Feb 17, 2006 Wide
Box Office: $12,260,586
Synopsis: Richard Price's novel FREEDOMLAND is brought to life in this 2006 adaptation. A carjacking-turned-kidnapping provides the set-up for a complex story of racial and class divide, as black detective... Richard Price's novel FREEDOMLAND is brought to life in this 2006 adaptation. A carjacking-turned-kidnapping provides the set-up for a complex story of racial and class divide, as black detective Lorenzo Council (Samuel L. Jackson) attempts to uncover the truth in victim Brenda Martin's story. Bleeding and dazed in an inner city ER, Brenda (Julianne Moore) explains that on her way home from work in the projects of fictional Dempsey, New Jersey, a black man assaulted her and stole her car. Matters are intensified when it's revealed that her 4-year-old son was asleep in the backseat. Novelist Price (CLOCKERS), who also wrote the screenplay, has never shied away from the blunt realities and moral ambiguities of the contemporary urban experience. Though Price's vision is often unrelentingly bleak, and his characters are far from saintly , there's a weary hopefulness that birddogs them throughout. Stars Jackson and Moore turn in performances as incendiary as the film's subject, and the excellent supporting cast (Edie Falco and Anthony Mackie, among them) tackles these complex characters with both nuance and fire. Director Joe Roth (CHRISTMAS WITH THE KRANKS) is given the monumental task of bringing Price's epic to the screen and his visual approach works well--all cinematic chiaroscuro and icy hues. Still, Price's themes of racial and class tension are rough, murky waters and require both a bold vision and a deft touch. As much as Roth is clearly passionate about the task at hand--setting an emotional fever pitch from the word go--the hopeful resolution he desires is not so easily attained, if attainable at all. FREEDOMLAND is a tough one, and although flawed, in the end, it's an emotionally complex, politically provocative film worth viewing. [More]
Starring: Julianne Moore, Samuel L. Jackson, Edie Falco, William Forsythe
Starring: Julianne Moore, Samuel L. Jackson, Edie Falco, William Forsythe, Ron Eldard, Anthony Mackie, Aunjanue Ellis, Latanya Richardson, Clark Peters, Peter Friedman, Dominick Lombardozzi, Philip Bosco
Director: Joe Roth
Director: Joe Roth
Screenwriter: Richard Price
Producer: Scott Rudin
Composer: James Newton Howard
Studio: Sony Pictures Entertainment
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Reviews for Freedomland
What saves Freedomland are the individual scenes and the interplay of people.
Freedomland, -- is a jittery, overwrought drama that does all it can to vanquish the fine performances lurking within it.
Despite the hot-button issues and go-for-broke emoting, Freedomland ultimately feels didactic rather than urgent.
A precedent of sorts can be found in 2003’s The Life of David Gale... It was similarly hung out to dry in February by a major studio.
Freedomland, though, isn't quite there -- producer-turned-director Joe Roth has yet to prove directing is his natural element.
Freedomland is so well-acted, so poignantly written, that you can almost forget its excesses and shortcomings and embrace it for what it is -- a serious writer's exploration of racism, cop mob mentality and the mechanics of guilt.
Freedomland is the worst kind of bad movie: one that thinks it's important.
Freedomland, the movie, doesn't flow at all. Joe Roth, who as a director makes an excellent producer, tries hard and you can see the effort throughout.
Freedomland is the kind of dispiriting February botch that makes you wonder if mainstream Hollywood would be better off abandoning serious subjects to the world of specialized film.
The film is dark and claustrophobic, and so confined in its location as to seem more like an adaptation of a play than a novel.
Freedomland wears its significance on its sleeve. If it were a boat, it would capsize under the weight of its self-importance.
The compression renders Freedomland as a slight, not entirely engaging mystery with slight overtones about the dangers of racial profiling.
Freedomland underplays an already muddled race card, using parental pain as the sole emotion capable of crossing the divide between blacks and whites.
Freedomland, a movie with a lot on its mind and too much on its plate.
In short, an overwhelmingly joyless movie consumed with its own sense of importance.
Both a solemn search for a dead child and a violent race riot are scored with celestial keyboard washes and choral harmonies intended to imbue the scenes with Significance.
Freedomland starts at such a fever pitch that it has nowhere to go -- except over the top.
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| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 88% 88% | Inglourious Basterds |
| 78% 78% | The Hangover |
| 49% 49% | Taking Woodstock |
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| 47% 47% | The Girl From Monaco |
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