Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

dbborroughs Story of the life and times of Abel Edwards, or more to the point his clone. The original Edwards was a Walt Disney like film maker/business man who died on the eve of the opening of his Florida theme park. decades later, after mankind has moved into space when a deadly virus reduced human population by 90% the Abel Edwards corporation is floundering. In an effort to get back on track they decide to clone their founder and so begins the life and times of the clone. We watch in flashback the life of the clone Edwards as his life is recounted at a probate hearing concerning his wealth and company.this off beat film with echoes of Disney and Citizen Kane was shot entirely on green screen sets. The fact that I'm recounting that first kind of tells you I'm not particularly fond of the film, since there isn't much to say beyond that. An okay film, that is almost bland. This is the life of a man who is not his own, it's an interesting concept but it never really amounts to much with the story kind or arcing in ways that you can kind of predict. It doesn't help that the green screen sets are unevenly handled and while their use clearly allowed for the film to be made cheaply, the effect is far from realistic.The effect is similar to several films released to DVD by Alpha Video under their New Cinema banner rather than things like Sky Captain, Immortal or any other film shot similarly, However you forgive cheapness in the Alpha titles since they somehow make it charming and here they really don't.Despite some occasionally beautiful black and white images this really doesn't have much to recommend it and given the choice I'd take a pass.(I somehow think that with out Steven Soderbergh's name attached as a producer this film would have been buried)

Chris Mackey (guestar57) ABLE EDWARDSwww.myspace.com/ableedwards This film is amazing and peeked my interest when I heard clone and Disneyesque in a blurb .As a young boy I had heard Walt Disney died,I knew his Imagineers would not let the old man go that way.I figured he was frozen next to L.Ron Hubbard and Howard Hughes,Please tell me you had'nt thought of this after hearing about Ted Williams. The digital/green screen process is quite a suspension of belief, But you are glad when you see some of AE park attractions. The sci-fi part is almost a stepping off to remake Citizen Kane,But that would cheapen what has been accomplished with this great film…Yes, FILM-No matter what medium .The cast would be of no OOh-Ah, But If its good enough for Steven Soderbergh to produce,Hell Im in ! You will enjoy this movie, Its much more successful at the COMPLETE green screen effort than anything from Hollywood, And a great story to boot.

Miguel Coyula Able Edwards is a great microcinema achievement. The story is set in a 1950s-looking B&W near-future where earth has become inhabitable. Space colonies float around the earth's orbit. Deceased Media Tycoon Abel Edwards (An inspired mix between Walt Disney and Charles Foster Kane) is brought to life in the form of a clone sampled from the original mogul's body as a desperate attempt from the Edwards Corporation to regain the falling empire's glory.This is basically a 21st century rework on Citizen Kane's story line with sci-fi overtones, introducing the theme of cloning, shot entirely against a green screen against still photography backgrounds (many scanned from a public library) and some occasional 3-D CGI. Sin City's fans will be inspired by the fact that you can actually shoot a whole epic in your living room.However, don't expect Hollywood FX hyperrealist environments, fancy camera moves, or baroque compositions. Director Graham Roberson purposely chose to do every single shot (even those which could have easily been made on location), with a green screen channeled background (whether still photographs, live action footage or CGI). You might say that at times the movie's mise en scene feels static: Some extra layers of compositing (and extra months of work in post) could have added more depth in making some of the photo backgrounds more lively, or create the impression that the camera moves a little more.However this does not detract at all from the story, on the contrary, it might even help it: The result is a prosthetic, unrealistic, yet harmonious, solid and consistent atmosphere that blends very well with the charming 1950s B&W look and epic feel of the piece.The acting complements the mood with effective performances from the whole cast. Scott Kelly Galbreath (Abel Edwards) manages to transport us to another era with his square jaw and Errol Flynn-esquire mustache. Everything here is at the service of conveying an entertaining story that despite the grandeur of the sci-fi aura, deals with the human condition and the concept of individuality: Is the clone going to behave the way the company has conditioned him to be? Or will he develop his own character?The film was executive produced by Steven Sodenbergh, who basically donated his Canon XL-1 and Mac G-4 from Full Frontal. It's easy to see why the project caught his attention. Unlike many low budget sci-fi, this is not so much about the special effects or the action, but about concentrating on telling a engrossing story. Some might say that it follows way too closely that of Citizen Kane to develop its own voice, but I find much more interesting and fresh to imitate the storyline of Kane than that of Star Wars or Halloween. Besides this has the twist cloning, which adds a whole new dimension and makes the character unique.If you love movies you will truly enjoy Able Edwards, as it is an inspiring achievement.

agrafes04 It takes guts to do way more than you should even try, and talent to make the audience still feel it.While everyone else at the SXSW festival was at JERSEY GIRL I wandered over and watched ABLE EDWARDS, which was an object lesson in what can be done for $30,000 and some software. This movie has a great script, actors, and sparse sets-and fake backgrounds. That's what you have to get over, moment you walk in. It's a `greenscreen movie,' like Sky Captains, but less polished, because the director and the writer are one guy, Graham Robertson, who decided to do whatever his imagination told him to.Here's the thing. The movie is basically, `the Disney Corporation clones Walt Disney in the far future to re-invigorate the company, but he instead struggles with his own identity and threatens the company as a whole.' This is a future so far-flung that, a la GUNDAM, mankind lives in vast spaceborn cities circling the planet, which drips with disease and acid rain. And yeah, the special effects are a little shaky-the spaceship effects are not cutting edge. Same thing as the green screen. You can those hallways are projected.And yet, and yet-hey, I go to a play, I can tell that cityscape is a model behind the window. It's like that. You watch the movie for a few minutes and you don't care. Cause here's the thing-these guys made a movie for peanuts and did what they wanted, and what they wanted turned out to be a clever homage to Citizen Kane. Scott Galbreath plays Able Edwards as if he's channeling Walt Disney himself, the queasily tyrannical, Errol-Flynn-moustached patriarch with a vision and no time for people who don't share it. Watch the way he can fire someone and smile. The idea of the movie is that Able, like Truman in THE TRUMAN SHOW, has been watched his whole life, groomed to take over the company. This means arranging everything that will happen to him (in a nod of sorts to THE BOYS FROM BRAZIL) and creating every emotional travesty. Able throws himself into his corporate role, as expected. And he immediately turns the company upside down, setting out on a vast undertaking that tracks with Disney's fight to create his theme parks. In Able's world, the draw of the parks is their danger-reality has long since been replaced with digital fun, and Able wants an actual big park, with actual animals and gravity-defying rides. As he falls in love with a designer played by Susan Allison, who really seems to have stepped out of a 40s movie here, Able's story becomes-how can I put this-you watch it and one part of your brain is going, `wow, who would have thought you could do the Disney story, Citizen Kane and Boys from Brazil-all in a Space City.' And the other half is forgetting all that and feeling genuinely affected by the tragedies of Edwards' hubris, which are vast and wrenching. I dunno. This movie-if Graham Robertson had thirty million, and not thirty thousand, I'm betting the movie would have looked about a hundred times better. But I'm also betting we would have lots about half the character development and richness of imagination, and that wouldn't really be worth the money. Robertson, a set director who decided to make a movie, has done a great thing-he's let his imagination fly and produced a 90-minute production that for all its technical limitations still affects on an emotional level. Think how easy it might have been to just make a sci-fi film, or to re-film THE ODD COUPLE, which would require no special effects. Robertson just goes for it, and it works. I hope we see more of him.