ada the leading man is my tpye

Boobirt Stylish but barely mediocre overall

Benas Mcloughlin Worth seeing just to witness how winsome it is.

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.

adonis98-743-186503 The Munns, father John and sons Chris and Tim, recede to the woods of rural Georgia. Their life together is forever changed with the arrival of Uncle Deel, though the tragedy that follows forces troubled Chris to become a man. Undertow is a nicely made drama that talks about family, love, revenge and the demons that we carry with us every day. The perfomances are really good especially from Josh Lucas and the movie although violent and all it's also quite charming at times. Definitely a film that i can recommend you to see. (7.5/10)

SnoopyStyle Chris Munn (Jamie Bell) lives in poverty on a pig farm with his father John (Dermot Mulroney) and brother Tim in rural Drees County, Georgia. He gets shot at and arrested when he goes over to see Lila (Kristen Stewart) and breaks a window. They are visited by John's estranged brother Deel (Josh Lucas) who just got out of prison. It turns out that Deel is looking for a stash of gold coins owned by their father which he suspects was taken by John. Also John's dead wife was Deel's girlfriend to begin with.This is a slow moody southern-atmospheric movie. It takes a long time to get going. The lack of intensity in the first half of the movie is a problem. There is enough in the plot to give some tension. Then it becomes a surreal realism journey. There is a poverty chic beauty to the movie like some sort of southern parable. Jamie Bell shows some quality work. It's a bit too slow at times but it has some interesting sections.

Cosmoeticadotcom When does the seep of an artist's talent get to be too much? Is it the first time he 'sells out', or the third, or when all of the early potential has drained away? This was what I was thinking as I watched David Gordon Green's third filmic effort, Undertow, an hour and forty-eight minute effort released in 2004. Oh, it's not a bad film, but all it is is a stylized, updated version of Night Of The Hunter, and that was a vastly overrated mediocrity of a film to begin with, directed by Charles Laughton in 1955, and starring Robert Mitchum as a murderous psychopath who stalks children who run away from him. What is most distressing about the film is that it comes after Green's first two features- the enigmatically wonderful George Washington and the lyrically poignant All The Real Girls.The basic problem is the screenplay- it's virtually nonexistent, and what does exist is all refried trite Hollywood potboiler thriller. How's this for originality? Two white trash Southern brothers, the Munns, are reunited. They have a deep, dark secret in their past. One brother, Deel (Josh Lucas), has just gotten out of prison, and the other, John (Dermot Mulroney), has two sons of his own, Chris (Jamie Bell, from Billy Elliott)- who impales his bare right foot on a nail, sticking up from a board in an opening chase scene, and Tim (Devon Alan)- a budding mental case who pukes all the time because he eats slugs, dirt, and paint. John stole Deel's girl, married her, and then Deel went crazy, committed a crime, and went to jail. It seems that John has some family gold coins that are worth a lot of money. Deel steals the coins, kills John, then tries to kill John's two sons, who've run off with the coins, even though he claims that Chris is really his son, since they look more alike and Chris has been in trouble with the law, as well. There are some potential moments of characterization, and a realistic family squabble with less melodrama and trite chase scenes would have been far more up Green's alley, but this film's sitting on the fence is what dooms it.Rumor has it that Green is working on adaptations of two recent books that contain dubious potential for him to expand his visual art- Brad Land's atrocious memoir of frat boy sodomy, Goat, and Sue Monk Kidd's 'mystical Negroes' novel, The Secret Life Of Bees. Is there no end to the bastardization of art? Apparently not, but such bastardy takes willing participants, and Green should be severely chided for moving away from his unique style. He was on the cusp of greatness with All The Real Girls, and perhaps becoming not another Malick, but an American Ingmar Bergman. Instead, Undertow is a major step backward for Green and for American film's future. Too bad his audience had to dosey-do with him.

MisterWhiplash David Gordon Green explores the story in Undertow with an intention to tell the story, but there's also an intention to explore the spaces his actors inhabit, or run to, or from, and occasionally with the lyricism of a grungy street poet. This isn't to say the film is pretentious; it can be enjoyed by those who just want a good, harrowing chase movie. Yet it asks a little more for an audience complacent with the norm in Hollywood, used to the conflict being simplistic with respect to the characterizations. Its presentation calls attention to a director attempting to find the thematic beats through what could otherwise be a conventional ride. It's also no mistake to make the connection to films of the 70s, or specifically Terence Malick's austere visual approach; Malick is credited as producer, so it's bound to have some informal mark of his own somewhere.It's really a tragedy of the rural family, where a single father (Mulroney) raising two kids (Bell and Alan), the older one something of a troublemaker, constantly brought in to the cops. When the father's brother (a perfect antagonist in Lucas) gets out of prison and comes to visit, it's more than a friendly family call; greed and vengeance bring him there, and a horrible incident occurs that sends the two children running away, now with their uncle in tow. He's after some valuable old gold coins- family heirlooms or sacred Mexican lot, depending on what story is to be believed- and nothing will stop him. Meanwhile, the two kids (the younger of the two pretty sick most often) are left to their own devices, looking for work, hiding in junkyards, or with the help of fellow underworld travelers.Aside from that, which is the basic plot, a lot of Undertow sways between tense and taut drama and action, with a couple of really visceral fights and bits of violence, and an understated character study. There's the performances that feel right in the thick of it, with Bell giving it all in a breakout role. But it's just... hard to explain the sensibility that gives this an edge over other dramas out there. The setting is one thing, where for the most part (with a few exceptions) Green doesn't succumb to total clichés with these southern hobos and backwoods folk (or, at the least, there's a humanism caught by having what would appear to be non-actors in roles like convenience store clerks and tow-truck drivers). And also it's the cinematography, which is clear and cool and hand-held for some subjective impact, plus the eerie, unusual score by Philip Glass.All of these punctuations on a story that is dark and compelling are abound, but it's also this bond between the two brothers, and the memories that they share and how memories in general work into the narrative, that score Green success. It's about mood as much as plot, about sorrow and anger and fear and all these things, and it's never something to scoff as too artsy-fartsy. It's just about right.