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Three former band mates enter a cave after hearing it has the power to give them what they need. As unsettling desires rise to the surface, they all wonder if the cave has real power.
Anna
Travis
Barry
**_“The Big Chill” involving three former bandmates_** Three close friends born in the same week agree to meet when they turn 30 at the isolated SoCal abode of the artistic loner of the bunch (Wes Bentley). They were in an up-and-coming band in their youth but have since gone their separate ways. The female vocalist has stayed in the music business with moderate success overseas (Amber Tamblyn) while the drummer is now a tax lawyer with a family back east (Vincent Piazza). “3 Nights in the Desert” (2014) is a dialogue-driven Indie drama that meshes “The Big Chill” (1983) with bits of the underrated “The Perfect Age of Rock ‘n’ Roll” (2009), yet in the milieu of the empty ‘wasteland,’ akin to the later “Girl From Nowhere” (2017). The scenic desert cinematography is a highlight along with Tamblyn’s voluptuous beauty, which is contrasted by the concealed sadness of her character. Meanwhile this is arguably Bentley’s best role; with his intense demeanor, he fits it perfectly and is sometimes stunning. Yes, there is some awkward TMI dialogue in the first reel, but I think the writer was trying to get across how close these people were at one time and, therefore, how comfortable they are casually discussing the most intimate aspects of their lives at a campfire or wherever. As in “The Big Chill” and “Return of the Secaucus Seven” (1980), the protagonists talk about old times, where they’re at now, and future possibilities. Old grievances come to the fore while romantic flames reignite. Like those two prior flicks, the viewer could argue that the movie’s pointless, but that would be like saying it’s worthless to walk day-by-day with an aging, dear relative before they pass from this plane. How much is that worth? So, there are gems to mine, especially for those who’ve been in similar situations. Travis, for instance, still refuses to bend his artistic principles for what he considers fake success while Anna sees the practicality of compromise. Meanwhile Barry has settled for societal convention and “success,” but is he fulfilled and happy? He gives off the vibe of the proverbial “life of quiet desperation” despite his condescending scorn for Travis’ chosen circumstances. Needless to say, you have to be in a mood for a drama with a limited cast to appreciate this flick. I just saw “The Big Chill” and “Return of the Secaucus Seven” and, as far as I’m concerned, this is the best of the lot regardless of its budget-oriented shortcomings. After watching, you might be inspired to give an old friend or two a call. Go out to coffee or have a campfire. It’ll probably be worth it, even if things get too honest, too passionate, too… challenging. The film runs 1 hours, 22 minutes, and was shot in Agua Dulce in the desolate high country north of Los Angeles. GRADE: B
January 4, 2014
Anna
Travis
Barry
**_“The Big Chill” involving three former bandmates_** Three close friends born in the same week agree to meet when they turn 30 at the isolated SoCal abode of the artistic loner of the bunch (Wes Bentley). They were in an up-and-coming band in their youth but have since gone their separate ways. The female vocalist has stayed in the music business with moderate success overseas (Amber Tamblyn) while the drummer is now a tax lawyer with a family back east (Vincent Piazza). “3 Nights in the Desert” (2014) is a dialogue-driven Indie drama that meshes “The Big Chill” (1983) with bits of the underrated “The Perfect Age of Rock ‘n’ Roll” (2009), yet in the milieu of the empty ‘wasteland,’ akin to the later “Girl From Nowhere” (2017). The scenic desert cinematography is a highlight along with Tamblyn’s voluptuous beauty, which is contrasted by the concealed sadness of her character. Meanwhile this is arguably Bentley’s best role; with his intense demeanor, he fits it perfectly and is sometimes stunning. Yes, there is some awkward TMI dialogue in the first reel, but I think the writer was trying to get across how close these people were at one time and, therefore, how comfortable they are casually discussing the most intimate aspects of their lives at a campfire or wherever. As in “The Big Chill” and “Return of the Secaucus Seven” (1980), the protagonists talk about old times, where they’re at now, and future possibilities. Old grievances come to the fore while romantic flames reignite. Like those two prior flicks, the viewer could argue that the movie’s pointless, but that would be like saying it’s worthless to walk day-by-day with an aging, dear relative before they pass from this plane. How much is that worth? So, there are gems to mine, especially for those who’ve been in similar situations. Travis, for instance, still refuses to bend his artistic principles for what he considers fake success while Anna sees the practicality of compromise. Meanwhile Barry has settled for societal convention and “success,” but is he fulfilled and happy? He gives off the vibe of the proverbial “life of quiet desperation” despite his condescending scorn for Travis’ chosen circumstances. Needless to say, you have to be in a mood for a drama with a limited cast to appreciate this flick. I just saw “The Big Chill” and “Return of the Secaucus Seven” and, as far as I’m concerned, this is the best of the lot regardless of its budget-oriented shortcomings. After watching, you might be inspired to give an old friend or two a call. Go out to coffee or have a campfire. It’ll probably be worth it, even if things get too honest, too passionate, too… challenging. The film runs 1 hours, 22 minutes, and was shot in Agua Dulce in the desolate high country north of Los Angeles. GRADE: B
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