|Written by Joseph B. Mauceri|
|Wednesday, 24 March 2010 00:20|
SYNOPSIS: Charlie Shepard (MCKELHEER) is a blue-collar, modern day healer whose family is murdered for seemingly no reason whatsoever. Six months after the murders, a young, enigmatic girl SARAH ROBERTS (HALVERSON) appears in town pleading for Charlie’s help with her own grief-stricken father after her mother’s death.
Sarah’s reasons for seeking out Charlie unravel slowly and mysteriously. She hopes to save her own brother LUKE (KNAUF) from a deep darkness while at the same time helping to redeem Charlie from his own grief and loss of faith.
Sarah takes Charlie on a journey deep into the Alaskan wilderness where the truth of his family’s killings will be revealed, ultimately leading to violent, tragic consequences. Unfortunately for Sarah, her good intentions backfire in a “twist of irony” that no one could have predicted. (Provided by studio)
CREW: Director/Editor/Screenplay - Robert Saitzyk; Screenplay - Cory Knauf; Story - Cory Knauf and Joseph McKelheer; Producers - Houston King & John Flanagan; Cinematography - Michael Hardwick; Score - Jeremy Grody & Justin Melland; Costume Design - Alexis Beck; Visual Effects - Ingenuity Engine VFX.
CAST: JOSEPH MCKELHEER… Charlie Shepard; CORY KNAUF… Luke Roberts; COURTNEY HALVERSON… Sarah Roberts; ED LAUTER… Mitch; JESSIE WARD… Rebecca Shepard; HALLOCK BEALS… Tim; LYNN ADRIANNA FREEDMAN… Belle; BEN LOOSLI… James Shepard; RON HOLMSTROM… Oscar; JUNE ECK… Lorelei; BOB POND…Lorelei's Husband; FRANK LOOSLI…Mr. Sykes.
OFFICIAL WEB SITE: www.godspeedthefilm.com
Writers/Actors Joseph McKelheer and Cory Knauf do an exceptional job creating their tormented characters on screen. I felt McKelheer’s performance is slightly more interesting due to the extremes his character must portray. Fellow actors Halverson and Beals are equally impressive, adding depth and tension to the film, but I honestly felt that veteran actor Ed Lauter was walking through his scenes. His monologue even felt a tad hooky.
The screenplay is an engaging premise, examining personal beliefs, crises of faith, and characters pushed to drastic measures to resolve their personal issues. There are times when the dialogue and plot bring to mind such films as David Mamet’s “The Edge,” “There Will Be Blood,” or The Cohen Brothers’ “No Country for Old Men.” GODSPEED even flirts with the borders of horrific extremes like Wes Craven’s “The Last House of the Left.” The film possesses several great monologues, some interesting dialogue, but unfortunately, for me, the film never achieves the true greatness of the previously mentioned films. When you consider a film like “The Usual Suspects,” there is a character the audience doesn’t see for 98% of the film. The other characters are all so vibrant, so multidimensional, that they call forth the ghost of Keyser S