Customer Reviews

Running on Empty

5 star:		(40)
4 star:		(10)
3 star:		(4)
2 star:		(1)
1 star:		(2)

 

 

This is doubtlessly one of the most underrated movies out there. The entire cast is just flawless. I watch this DVD and find myself truly saddened that such a talent as River Phoenix was so needlessly lost. Phoenix earned a well-deserved Oscar nomination for his role as Danny Pope, the undisputable emotional center of this movie. His performance was superlative. To me, this is one of the two or three highest points of Phoenix's all-too-short career; probably the top of the list, actually, in my opinion. His interplay with Judd Hirsch, the piano scene with Christine Lahti, the amazing chemistry with Martha Plimpton -- it really is just spellbinding. Christine Lahti is completely incredible as Annie Pope and the restaurant scene with her father is just devastating. I can't think of another word. Every time I watch it, I'm almost overwhelmed. Like many other reviewers, I applaud the absolutely perfect inclusion of James Taylor's "Fire and Rain" into the movie -- it just flat-out worked. Honestly, if you haven't seen this movie, treat yourself. It's a masterpiece.

I recently watched this film again, as I do periodically, and thought I'd comment. Several reviewers have pointed out that although the film is uniformly excellent, the DVD presentation is lacking, and I am of mixed feelings on that point. While it's true that the DVD doesn't offer more than the film, it's a film of such understated perfection and poignant brilliance that I wonder if we have the right to demand more. Sure, a director's or screenwriter's commentary track, or even a quick comparison of this to Lumet's earlier and similarly-themed Daniel, would be nice, but sometimes a movie is so good it doesn't need help.

I saw this movie on HBO as a kid, probably soon after it came out. I feel certain that I must have seen it several times, but although I vaguely recalled liking it immensely, I went for some years without thinking of it much. Then I went on a huge Sidney Lumet kick in 1997/1998 (owing to his compelling appearance on Inside the Actor's Studio and his intriguing book) and rediscovered this. To my utter astonishment, I began to see that the film had transformed me when I saw it as a kid, and it would be months before I unraveled all its subconscious shaping of my pysche.

This is a gorgeous, unflinching and aching film about tough choices and living with consequences, and I'm glad to say that despite numerous opportunities, it never once sinks into the chasm of Hollywoodisms that have capsized most films that even attempt something like this. It manages constantly to be honest and to present the gray areas of its characters, rather than letting them fit into simple archetypes of hero/protagonist, etc. I like that, because I don't find it helpful to understand the world in black and white, and clearly Lumet doesn't either. Even the most villainous character is given the opportunity to express his point of view, and although I don't sympathize with it, I at least understand it.

In short, there are really only a small handful of 'family' dramas that I would argue are completely genuine, and this is in that august company. (Ordinary People is the only other that leaps to mind at this moment.) It is a rare accomplishment indeed, and everyone in it is at least superb, with a couple of performances managing to go even beyond (Lahti's multiple, and heart-wrenching, inner conflicts toward the end are all clear without being tediously overacted -- an amazing feat, while Phoenix's Danny captures not only the torment of his character that's in the script, but the added burden of being a 17-year-old boy in general).

So would it be nice if they gave this the Special Edition treatment? Of course, and I'll replace my copy if they decide to. But is the lack of special features an excuse for not owning this? An unequivocal no. That's like declining to purchase an original Michaelangelo because the frame isn't perfect.

Arthur and Annie Pope along with their two sons, Danny and Harry, have been on the run and hiding from the law for years. This stems from the parents staging a bomb attack on a Napalm factory in their protest of the Vietnam War coupled with a factory worker getting seriously injured in the process. Always on the move, changing identities, and having no semblance of stability in their lives, the Popes gradually become weary of the chase and are forced to question their beliefs on family unity, which is paramount to them. Settling in New Jersey after yet another close call with authorities, Annie Pope enrolls her son in a local high school where his talent for playing the piano is quickly noticed and appreciated by his music teacher. So much so that arrangements are put into motion for Danny to attend the Julliard School of Music on a scholarship. Arthur and Annie Pope, kept out of the loop, eventually learn of these plans plus Danny's evolving relationship with his music teacher's daughter and his fervent desire to act on the scholarship. The Pope family is forced to examine their lives, their beliefs, and their convictions regarding the impending consequences of finally breaking the family circle. This leads up to a very moving and poignant climax in the movie that is nothing short of outstanding.

As many reviewers have already stated, the quality of the acting in this movie is absolutely stellar. Christine Lahti, Judd Hirsch, River Phoenix, and Martha Plimpton render such heartfelt performances that they appear to be a real family in the real world. Although River Phoenix was nominated for an Oscar (rightly so and he was a phenomenal talent), everyone mentioned above deserved a nomination probably just as much. Each time I watch Running On Empty, which is frequently, I always think of how River Phoenix's career would have had a meteoric rise and how much more pleasure he would have brought to movie audiences.

Running On Empty is an ideal example of drama at its very best. In regards to emotional impact, this movie pushes all your buttons from start to finish. You'll want to laugh and cry and eventually you'll realize just how deep love, commitment, understanding, forgiveness, and hope really run in a family. This movie is remarkable and I recommend it to everyone.

This movie about 70's radicals living life underground and on-the-run with their two sons in tow, after their bombing of a napalm factory resulted in the paralysis and blinding of a janitor who wasn't supposed to be there, is actually a unique and beautifully told family drama, with a superbly chosen cast and some very fine writing to commend it.

River Phoenix plays the oldest son Danny, who is a gifted pianist and is old enough to begin resisting the fugitive life that has been thrust on him, Jonas Abry as his little brother, Christine Lahti as his beautiful mother and Judd Hirsch as his still true-believer father. The details of how they live their lives underground, ready to run at any instant, working the gray areas of the economy for cash as fry cook or receptionist or whatever is convincing. Yet they have a warm and rich family life.

Although the events and situations that bring enormous stress into this family, fracturing what has been a functioning, albeit odd, modus operandi revolve around the rise of the undeniable talent of Danny and his desire to pursue his own dreams, it is also a result of the numbing strain of 17 years on the run that is felt especially by Lahti's Annie. A once Julliard-caliber musician, like her son, she threw her life away with her "act of conscience". The resolution of all this rings true.

If for no other reason, this movie is worth seeing for one scene, which I consider one of the finest moments by two actors ever captured on film, and that is the scene between Christine Lahti and Steven Hill as her father. This brief meeting in a very high class New York restaraunt with the fugitive daughter and her prominent industrialist father, who hasn't seen or heard from her in many years, is gut-wrenching, heart-breaking, devastatingly honest and about as "true" a moment by both actors as I have ever seen. It is remarkable.

There are many good scenes in this film, and Sidney Lumet elicits superb performances here as he always seems to do in his best work. This is a lovely film, and it is well-worthwhile.

This DVD is only available now in 1.33 full-screen. I've read that this actually gives you MORE visual data than the theatrical version (as the film was supposedly originally shot in full-screen and then had the top and bottom of the screen lopped-off in theatrical rectangular shape -- and was presumably shot with this intention. And as such, the full-screen version is as good or better than what we'd get from a widescreen format.)

Turns out that all of the above is not true. The full-screen version is in fact Uber-cropped.

At any rate, despite the miscasting of Judd Hirsch as the ex-'60s-radical-turned-father, the movie itself is one of those rarefied things that's so good it tends to escape hype --- or even adequate attention. The drama is understated and River Phoenix is as gulp-inducing as ever.

Sad, sad, sad...

One of the best things about this film is found in the details. When Judd Hirsch, as the patriarch of a family constantly on the run from the FBI, throws a couple of vegetables to his son played by River Phoenix, the director, Sidney Lumet, doesn't use that old cut trick--one hand throwing, another hand catching. He actually has River catch the stuff that's thrown to him. When River plays the piano, Lumet doesn't cut away from the keyboard to show the actor's face, then cut again to the sight of hands playing. He shows River playing the piano. It's a real pity River's not here anymore. He had gallons of talent.

This is a film whose emotional base is rock solid because the characters are flesh and blood, with real feelings--warmth, dignity, fear, and hope--that give the story tremendous depth and substance.

One sidenote of interest. The young actor who plays the younger son in the family, Jonas Abry, was coached for this film by my mother who is a children's acting coach. (He does a great job, if I do say so myself!)

Everyone in the cast is fine, but the two standouts are River Phoenix and Christine Lahti. As Judd Hirsch's wife, she is not only perfectly cast, but fits her role like a hand in a kid glove. You can't see anyone else doing this as well. Maybe Sissy Spacek, but this unique combination of toughness and warmth is not quite a Spacek character--nor is it quite a Jodie Foster character either. It's Lahti's role all the way and she's really great.

One of the best things about this DVD is that it's really inexpensive. My advice is to buy it; you can't do much better than this for solid American drama at a great DVD price.

Highly recommended.

Probably one of River Phoenix's best performances--quiet, subtle and affecting. What many writers, directors and actors unsuccessfully convey through too many words, River triumphed in with a brief look. I saw this in its original release and was moved beyond all thought. A family's undeniable devotion to one another and the painful sacrifices that each member makes in order to give the other happiness is the truest testament of what defines a family's love.

Danny Pope's struggle for independence, stability, his love for music and a desire to study at Julliard. But his devotion and committment to his family is heartwrenching. Seeing Christine Lahti's character having lunch with her stoic father and begging for his forgiveness will floor you, and this his reaction when she leaves is a double whammy.

A great drama that is beautifully executed.

This is one of my all-time favorite movies, but I think this DVD must have been one of WB's first releases back in 1998. It desperatly needs to be updated. There are no special features whatsoever and worst of all, it's presented in FULL SCREEN only! I don't even think it was digitally remastered, as it looks no better than a VHS copy. But if you haven't seen it, or can't wait for a version more worthy of its brilliance, go ahead and pick this turkey up. You'll probably find it on the bargain shelf somewhere.

Not only is this one of the great dramas ever made, it is one of the best films ever made (my personal all-time favourite). Naomi Foner's script (Oscar nominated in 1988) deserves the highest praise. It is rare to witness this level of screenwriting and director Sidney Lumet milks it for all it's worth. At the same time, this is a film of tremendous subtlety and quiet power. The acting is unspeakably good. Christine Lahti, River Phoenix and Martha Plimpton should undoubtedly have won Academy Awards for their efforts in this film. Lahti's meeting with her father (played beautifully by Steven Hill) is among the most moving scenes you are ever likely to witness on film. Phoenix, whose Danny is the emotional core of the film, is utterly convincing. His confession to Lorna, Plimpton's character, might have been melodramatic but is rendered with complete truth and poignancy. Plimpton's unnaffected Lorna is a well of goodness. And Judd Hirsch, whose role is less sympathetic, is similarly extraordinary. Also noteworthy are Tony Mottolla's simple score - one of the most beautiful piano melodies you are ever likely to hear - and Gerry Fisher's flawless photography. Use of James Taylor's 'Fire and Rain' could not be more effective and moving. This is a film about family like no other you will ever see.

"Running on Empty"

This is quite possibly River Phoenix's best film, and certainly his Oscar nomination was well deserved. The elder son in a family who live on the run from the FBI (for a crime they committed in protest at the Vietnam war in the early seventies), Phoenix's Danny is a complex and talented young man who reaches an impasse; he must choose between his life on the run or risk a life without his family in order to achieve his own potential as a talented pianist.

It's hard not to identify with this family, they are all fully realised characters superbly portrayed all round. All the performances here - Christine Lahti, Judd Hirsch, Martha Plimpton, Steven Hill et al - are standouts. The direction by Sidney Lumet is gentle and observant, the script by Naomi Foner subtle and honest.

While the entire film is engaging and poignant, particularly memorable is the birthday dinner scene, where brilliant use is made of James Taylor's Fire and Rain. The song is repeated hauntingly at the film's climax, and if that scene doesn't make you at least want to cry, you're better of down the local multiplex binging on popcorn between the set-pieces.