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There are three unforgettable characters in John Sayles's contemporary adventure-drama set in Alaska. They are never seen but live only in a frontier diary found by teenager Noelle De Angelo (Vanessa Martinez). The life of the diary's narrator is much like everything in this movie: hanging in limbo. The first half of the film focuses on why men and woman turn to Alaska, a land still ripe with opportunity. A small town is at a crossroads, with its pulp mill and canning factory closed and new investors seeing different directions in which to take the area (one even boasts the state is the ultimate theme park). A local (Sayles regular David Strathairn) is just escaping his past, taking up commercial fishing again. He attracts a traveling nightclub singer (Mary Elizabeth Mastrantonio in her best role in years) who struggles daily with her daughter Noelle. Like any good theme park,
Limbo presents the threesome with an unexpected adventure. In the wilderness, the three relative strangers learn more about themselves than was ever possible in town. Sayles's usual craftsmanship creates a singular blend of drama and suspense with an ending designed to ruffle feathers. Not as accessible as his breakthrough hit
Lone Star,
Limbo is nevertheless a hearty film from one of America's best storytellers.
--Doug Thomas
John Sayles's latest, and was there ever a case of so much turning into so little? In Alaska, a gutsy road-tavern singer (Mary Elizabeth Mastrantonio) and a stoic former fisherman with a dark secret (David Strathairn) get together and take off in a boat, accompanied by the singer's resentful teen-age daughter (Vanessa Martinez). Through no fault of their own, the trio get stranded on a deserted, rainy island way up north with nothing to do but wait for the cold and listen to Martinez read from a child's diary that she discovers in an abandoned cabin. Mastrantonio is wonderful-if properly framed and supported, her performance might have been a classic. But Sayles can't seem to pull the elements of narrative filmmaking together. He sets up all sorts of tensions-tourism versus native industry, the pride of loneliness versus the pull of family-and abandons them, leaving the audience in a frostbitten mood. The impressively bleak cinematography is by Haskell Wexler. -David Denby
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