Stolen Summer (Rental)

Project Greenlight is one of the most obscure and odd reality television shows to hit US screens in recent years, definitely more original than series after series of Big Brother and Survivor. This “multi-media project� is the spawn of Oscar winning Ben Affleck and Matt Damon, as well as producer Chris Moore. In 2000, the project was brought to the public where budding filmmakers were given the chance to submit a script in an online contest where the prize was being able to direct their own movie, with a $1 million budget, a top big-name cast and a guaranteed theatrical release. Well a guaranteed US theatrical release at any rate. The series then goes on to film the making-of process, and all of the conflicts that occur when amateurs try to work together to make a great film. OK, so it may not appeal to all audiences, but it's an interesting concept nonetheless. Stolen Summer is the product of writer/director Pete Jones’ entry – the completed work of this different type of reality television show.

The top-notch cast starts off with a powerfully strong performance from Aidan Quinn, a stunningly deep role from Bonnie Hunt and a moving performance from Kevin Pollak, not to mention the rich and broad talents from the two young'uns Mike Weinberg and Adi Stein. The supporting cast is made up from notable personalities including Brian Dennehy and Eddie Kaye Thomas (Paul Finch from the American Pie series). Newcomer Pete Jones’ poignant screenplay just leaps off the screen, but someone must have seriously spiked the DP’s juice because there is one word that he may like to hear – “steadycam�. At times the camera movement is intended to build a mood and feel, but c’mon, has anyone heard of subtlety? Still, the film carries a great script, some great talent and the best thing that any film reviewer could look for – originality.

This sort of film won’t appeal to all audiences, especially some of the religious-less sections of the Australian populous. But for those who are willing to watch a film based around religion, and no, not the Dogma type either, this film adds a different touch to cinema, and really shouldn’t be missed. Set in 1976, a traditional and customary Catholic family have kids running around everywhere, and attend church on a weekly basis. The mother (Bonnie Hunt) is very open-minded and tired as the full-time-and-a-half mother, and the father (Aidan Quinn) is a strict and stuck-up anti-Semitic who really is the “man of the house�. So picture this setting, it is the end of the second grade for young Pete (Adi Stein), who has the whole summer ahead of him. But his teacher at the religious Catholic school has threatened him with a future in hell due to his bad behaviour and lack of direction with his schooling. So officially spooked, Pete decides to go on a quest to get himself to heaven, and does so by trying to convert those of another religion to Christianity to make sure they make it to heaven too. His first port of call is the local Jewish temple, where he meets Rabbi Jacobsen (Kevin Pollak) who openly welcomes the youngster into the temple and opens his eyes to different religions. But as circumstances go, Pete befriends the Rabbi’s son, Danny, and the pair create a series of tests which will allow Danny to take part in the Holy Communion and therefore eat a piece of Jesus and make his way into heaven. But then Pete’s family is in the way of his quest, and other more serious circumstances stand in the way of Pete and Danny achieving his goals. But this is a film about religion, family, friends, loss and most importantly faith, something that Pete will find more powerful than any religion’s beliefs.

The video is presented in a 1.85:1 aspect ratio, and is anamorphically enhanced. It is not terribly clear what the original aspect is, but framing suggests that it would be this. Miramax have produced a great transfer here, only lacking with one slight issue – one so minute that many watching-for-entertainment audiences won’t even pick up on it. The whole film is covered with a fairly thick wash of grain, one which heavily coats many of the darker scenes. At times this is obvious, but at others it quietly sticks between the action and the audience. With this heavy grain comes a lack in the clarity of the image here and there, with some scenes appearing very soft in focus. This lapse in the detail of the image isn’t terribly distracting, or noticeable for that matter, but still can be seen at a variety of times throughout the film.

Colours are richly rendered, with solid and healthy skin tones. Very little in the way of posterisation effects can be seen, and macro blocks are nowhere near this disc. Black levels solidly penetrate the transfer, with a clear and realistic shadow definition. There is nothing worse than being stuck in the middle of a touching scene and having some hideous shadows or artefacts pass you by. Now while we’re on about artefacts, film artefacts are relatively nowhere to be seen, with the odd speck giving away the source of the film. English subtitles have been thrown in and accurately capture the dialogue of the cast, but during the opening credits they do appear to be somewhat random and lacking.

The Dolby Digital 5.1 English track is a welcome audio option, and luckily so as it is the only one. For this genre of film, a 5.1 soundstage doesn’t really have the chance to get right into it, and Stolen Summer is a perfect example of a poor 5.1 mix. Dialogue crisply comes from the centre channel, and is in synch for every single frame of the film. So no quibbles there, and thankfully too, given that this is a seriously dialogue-driven film. The remaining speakers get a run for their money here and there, but generally don’t have a lot to say. The hollowness of the soundstage is broadened through the subtle use of the subwoofer. The only time the effectual speakers really kick off is when Danny Lux’s ambiently touching score floats gently over the surface of the film. This simple yet moving score adds so much emotion to the film, especially during the finale, so the only thing that would make this portion better would be a nicer 5.1 mix, but still, this one does the job.

Zip. Zilch. Nada. Animated menus don’t really count.

OK, it’s not a film for everyone, but Stolen Summer really does hold a great message, even if it is a low-budget “amateur� film. Miramax have done a great thing with Project Greenlight and have given young filmmakers the change to hit their target. Now it may be something like Survivor with a short five minutes of fame, but at least it is a foot in the door. The transfer is of a high standard, with only minor details making it fall short of ‘perfect’ status. So if you’re hard done by for entertainment, and you don’t mind some religious threads in what you watch, it may be an idea to grab this one. It’s no award winner, but still too good a film to just pass by.