You get nice little movies such as this surfacing from the U.S independent film industry, sandwiched between two (or three) horrid ones. The 'River of Grass', sort of ambles and drifts along in an endearing 'Badlands' fashion and almost at times without much purpose at all. Perfect though for telling the tale of two misfits thrown together after a single moment of madness. Fessenden is back the frame.

Having heard about the genre for years,I was introduced to Mumblecore by family friend Guy Morgan (who passed away suddenly in March 2019,age 46) with the outstanding Wendy and Lucy (2008-also reviewed.) Gathering up titles for a "Auteurs in '94" viewing week,I was excited to find Reichardt's debut as being listed from '94,which led to me cutting the crass.

View on the film:

Laying out the cards of Cozy's life on the screen in a opening photographs/ narration montage, co-writer/(with Jesse Hartman) directing auteur Kelly Reichardt displays a remarkable procession on the grounded themes which would span her future credits. Filmed in the part of Florida Reichardt grew up in on a mix of film, 8MM and in 4:3 aspect ratio, Reichardt & cinematographer Jim Denault drives a early intimate Mumblecore, rural atmosphere, made up of fragmented jump-cuts and jagged panning shots missing the cut-off points in conversations, which brings a in the moment closeness to the up close and personal (such as Reichardt visibly holding the camera in the back of the car during Lee and Cozy's drive, creating the impression of eavesdropping on their arguments.

Setting out a path for future recurring themes on Cozy and Lee's lovers on the run, the screenplay by Reichardt and Hartman brilliantly holds a unreliability over the couple on their certainties of having committed murders. Draining the burning passions and closure usually offered in the Lovers on the Run/Road Movie genres, the writers give a grittiness to the dialogue,that increasingly covers the dead-ends the couple encounter in their broken attempts to change lanes on the roads and in their lives (a recurring theme for Reichardt.)

In the Everglades a young couple enter into a life of crime almost by accident.

First of all, I must give this film credit for its ambition - it aims to have a sense of style, a kind of steamy, sleazy noirish air. The story, though familiar, is acceptable, the script is OK, and the majority of the technical elements are discharged adequately.

Unfortunately, it is denied the breath of life by that bane of the low budget indie movie, bad acting. And some - most - of the acting here is shockingly bad. And the more you watch, the more aware you are of how bad it is, and that in turn impacts on the script. It isn't bad, but the acting makes it sound bad.