Well-crafted, Yet Not Particularly Engaging Winter's Bone is a well-crafted film, written and directed by Debra Granik who appears to have quite a bit of talent. It is well-shot, its characters are clear, and overall, it's a very honest docu-drama. And yet...it doesn't quite work.
My first reaction after seeing the trailer was that there was no need to see the film as the trailer told the whole story. And yet, I was reeled in by the buzz of the film and the Academy Award nominations for it's lead actress and the film itself. Supposedly, it was "a shocking mystery that would keep you on the edge of your seat." A few friends told me that I must see it. I figured I'd give it a shot. However, the shock and the mystery never seemed to materialize.
An immediate reaction might be to see Winter's Bone in the same vein as the recent "Frozen River". However, where the two films diverge markedly is that Frozen River had a clear plot, an engaging lead character, and a riveting performance by it's lead actress, Melissa Leo. I couldn't find any of these elements in Winter's Bone. There was very little in the film that reeled me in.
The plot is fairly simple. The story revolves around Ree; a tough, reticent, 17-year old girl, who lives with her dirt-poor family in a ramshackle house in a "white trash" town in rural Missouri. She is struggling to take care of both her catatonic mother and her two younger siblings.
Within the first 10 minutes, we find out that her father, whom the family is estranged from, is a good-for-nothing local meth-user/dealer. He has skipped his bail after putting the family's house up as his bond. Ree now has one week to find him in order for him to appear at his trial. Normally, this is where the plot would kick into gear. And yet, it's more of a slow amble from here on out. About 20 minutes into her search, we are given more information about her father, (which isn't much of a surprise), and then everything seems to slow down from there. By the 1-hour mark, most of the mystery is solved, and all I could think is, "what are they going to do with the last 40 minutes of the film?" The answer was "not much." I certainly did't feel that the one "shocking" scene that happens in those last 40 minutes was enough to carry the last part of the film.
The acting is good, yet not superb, and it is clear that Miss Granik used a lot of non-actors in the film. Non-actors in a piece like this can be wonderfully useful when the director is trying to add a certain verisimilitude. But you must be careful to make sure they can handle being in front of the camera, so as not to sacrifice the very honesty you are hoping to achieve with them. (For excellent use of non-actors in this year's nominated lot, see Russell's "The Fighter").
The best performance is from a miscast John Hawkes, who does a wonderful job, yet with his diminutive size, is a bit difficult to believe as the rough and tumble character he plays, putting the fear of god into every 6 foot 3 inch, 200-pounder in town.
This film won Sundance, and though it has also become a very surprising Oscar nominee, it's not hard to see a pattern emerge with the films that have been successful at Sundance over the last decade. They tend to be low-budget, gritty docudramas, about poor people living in near-squalid conditions, with minimal plot, and people who are "just like some people I know." Now, I'm certainly no fan of what has been coming out of the studios as of late, and yet I thought the other 9 Best Picture nominees in this year's Oscars, were all extremely well done.
But if you're looking to get some attention at Sundance, I'd say it might be a good idea to start making a low-budget film about a Rwandan refugee who struggles to to bring his family to America by selling trinkets on the sidewalks of New York, while living above a ratty bodega somewhere in the Bronx. I guarantee you, you'll get a long, hard look from the selection committee, and subsequently from the audiences when it comes awards time.
I think there are many good films that come out of Sundance and other film festivals around the nation, but after sitting through almost a decade of them, I can tell you that many are not strong (try sitting through Wendy & Lucy or Old Joy if you don't believe me. Two more examples of well-made, painfully unengaging films about....I'm still not sure, but hits at Sundance).
I think the reason why some of these films like Winter's Bone are a bit more touted than they ought to be, is that after festival audiences are forced to see one sub-par film after another, they tend to overrate the rare film that is halfway decent. And Winter's Bone certainly is half-way decent. It is a well-made film...just not very engaging.