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Freedomland [Blu-ray]


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Product Details

  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Average Customer Review: 2.6 out of 5 stars  See all reviews (83 customer reviews)
  • ASIN: B0024FAG3K
  • Amazon Best Sellers Rank: #858,733 in Movies & TV (See Top 100 in Movies & TV)

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Customer Reviews

I can't believe movies like this get made, and I waste my time watching them.
O. sanabria
Samuel L. Jackson was totally overacting and Julianne Moore was totally miscast for this part somebody like Juliette Lewis would have been much more credible).
Danijela
Even though the film still manages to raise these issues to its audience, it lacks any type of consistency from the imbalance of its two themes.
The Tweeder

Most Helpful Customer Reviews

13 of 14 people found the following review helpful By Chris Pandolfi on February 17, 2006
The way I see it, a good movie has to have a sturdy structure in order to support the weight of its characters and plot. If this idea falls through, then all you'll have is an incoherent mess. "Freedomland," unfortunately, falls into this category. It had so many missing pieces that its structure pretty much collapsed the moment it started. No, that's actually too limiting: the pieces were never together to begin with. Everything about this film was out of place and chaotic, a haphazardly strewn together story that only resulted in a jumbled mass of wrongfully conceived ideas.

The movie begins in the streets of an urban housing project in Dempsy, New Jersey. There we meet Lorenzo Council (Samuel L. Jackson), a police detective who seems to know everyone in the neighborhood but isn't exactly up to speed on all of its problems. One of the women continually nags him to do something about her abusive boyfriend, and Council continually tells her that he'll take care of it as soon as he can. Right from the start, he seems burned out and detached, something that other officers have picked up on. They were noticeably standoffish and haughty. Obviously, some would rather not work with him. Exactly why is never really explained, a fact that only serves to make the many moments of mounting tension and hostility seem ill fitting.

Council is thrown into a web of mystery when Brenda Martin (Julianne Moore) walks into Dempsy Medical Center. Her hands are covered in blood, and she's mentally cut off from the world. Council is called in to question her. For a while she's evasive, and occasionally seems to be rambling. Eventually, she says that, while taking a shortcut through the park next to the housing project, she was carjacked by a black man.
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26 of 33 people found the following review helpful By Kcorn TOP 100 REVIEWERVINE VOICE on February 17, 2006
This is a muddled mess of a movie, although it seems promising at first. A mother is dragged from a car and her young son is left behind, to be driven off in the car by the hijackers.

Unfortunately, everything goes downhill from here. There are plot lines that go nowhere and long pieces of the story that don't seem to connect to other parts. Even worse, the mother isn't treated in a believable way by the police. She may be in danger but they actually leave her alone at certain points.

Anyway, it was just a jumbled hodge podge of a movie. Deeply regretted seeing it. Liked the book, though.
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5 of 5 people found the following review helpful By Tanis on September 23, 2007
Format: DVD
When rambling Brenda Martin (Moore) arrives at a hospital bloody and mumbling about a carjacking and her four-year-old son being kidnapped, detective Lorenzo (Jackson) suspects she is talking about. When Brenda's brother who us a police man shuts down the area where the incident took place in an attempt to trap the kidnapper, it creates tension between the blacks and the whites in the community. As Lorenzo presses the tight-lipped Brenda to tell what really happened with her son, the insubordinate community threatens to rebel if the police don't go away. Moore, a talented actress with a torrent of diverse roles under her belt, looks - like her character - confused as to how she should play her role. Jackson is in similar territory, as his honorable cop role never impresses and I am personally disappointed that not even one of my favorite actors can get his role together to make this movie work. Freedomland never attempts to stand out from the crowd and travels along slowly until the thud of the irrelevant ending.
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5 of 6 people found the following review helpful By Robert Beveridge HALL OF FAMEVINE VOICE on August 14, 2006
Format: DVD
Freedomland (Joe Roth, 2006)

I have spent the past few years studiously avoiding blaming Spike Lee for the confused mess that was Clockers (though his subsequent movies have caused me to think he does deserve a good portion of the blame). I always shifted it to Richard Price, who wrote the original novel. Now we get another film adaptation of another Richard Price novel, where Price once again adapted the screenplay, and instead of a guy like Spike Lee-- who may be in a bumpy patch of his career, but man, the guy can nail the hide to the wall when he's on his game-- we get Joe Roth, responsible for such deathless cinematic fare as Revenge of the Nerds II and Christmas with the Kranks? Is there any way this film was not going to be a disaster?

Okay, so we cast Julianne Moore as a mother with a missing kid (hmm, there's a huge stretch) and Samuel L. Jackson as a cop (whoa, what casting bravery!). And that's pretty much your movie-- white woman gets carjacked in black area with kid in back of car, black cop doesn't quite buy it but is willing to go the extra mile anyway. Do you see the big twist coming?

The problem is that the big twist takes forever to get coming. Did we really need a full hour of explication to get that there's racial tension building, and that it's liable to explode at any moment? (Short answer: no.) I'm sure that in the novel, there's a wonderful parallel between the missing kid and the racial tension. It does not exist in the film, which treats when as two entirely separate, if overlapping, storylines for most of its length. The scenes where they do coincide seem extraneous at best and profoundly uncomfortable at worst.
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