Painful. Stupid. Pointless.
******Sort of spoiler alert (I don't reveal anything that wasn't in the trailer)******
When I went to see this I was hopeful. Based on the incredible cast and meager budget I assumed there was something to this. There was an amazing story, a reason to tell it - a real 'actor's piece'. Perhaps these actors felt George Ratliff is a talented writer and storyteller whose moment in the sun hadn't come and they were going to help loft him to where he belongs? What would draw a bunch of Oscar winners, nominees and James Bond to a 26 day shoot in the middle of nowhere for no pay? After seeing Salvation Boulevard I still have no idea.
I'm not religious, never read the book and have no bias against atheists nor religious people - but somehow this movie even managed to condescend me. Whether it was intended or not there is a supposition at the very beginning of the movie that everyone in the audience is in on the joke and that joke is Jesus. Then it proceeds to make lazy gags and roll its eyes at anyone who ever opened a bible and didn't immediately burst out into laughter. Paint by numbers coloring books are more compelling.
The first ten minutes was interesting. There was actually a well thought adversarial argument between Harris and Brosnan over religion and reason. For team atheist, Ed Harris killed it (in a good way, I love that guy). Pierce Brosnan's pro-religion rebuttal was weak but tolerable (the writer's fault) - and introduced Kinnear, a recent convert to the church. Then there's a scene immediately after where Ed Harris, Pierce Brosnan and Greg Kinnear sit down together to discuss Harris' idea for a new book where the two continue arguing but this time they do it in writing and split the profits. There's absolutely NO reason whatsoever for Kinnear to be in the room - but this is obviously the 'call to action' moment and he's the protagonist, so whatever. Right after Ed Harris gets shot in the face accidentally - an act so stupid and unbelievable it had to be an intentional put-on orchestrated between the two of them for some greater purpose my mind began to wander; Why did they invite Kinnear's character to this meeting? Is he a pawn? Was this going to be a religious version of Trading Places? "What a great idea!" I thought. Stone and Ratliff might be onto something brilliant. Ed Harris and Pierce Brosnan are going to be Mortimer and Randolph and Kinnear is Billy Ray/Louis - and they're going to spend the next hour and a half manipulating Kinnear's character through this impossible situation to see if he chooses faith or reason. The winner gets a dollar (or top billing on the book cover, whatever). So now I'm excited - this movie is going to be an intelligent dissection of the two different fundamental arguments set in a ridiculous fictional setting so we can all get some perspective. I immediately forgave the first 20 minutes of bad filmmaking and settled in for some intellectual/spiritual discourse.
Nope. Couldn't have been any more wrong. What followed was a bunch of lazy tripe, with no point, purpose or clear perspective hashed out by a bunch of people who didn't seem like they really wanted to be there. It was a long, random, meandering collection of poorly written, motivation-free scenes where the protagonist is neither interesting, relatable nor do you care what happens to him. I would've walked out after the rock/minivan/quarry bit but I stayed to see what the director had to say for himself (I saw this at an advance screening at which the Ratliff was present). He spoke afterward. Listening to him was almost as uninspired, unfunny and pointless as his movie. All he really had to say about this atrocity is that he thought the book was for simpletons and he and genius writing partner Doug Stone felt compelled to make it less stupid (I'm paraphrasing here but that's how it came across). If the book was worse than this, I can't imagine anyone actually finished it. It's like I sat through 2 hours of mild condescension to listen to a glass of 2% milk talk about Lorna Doone cookies.
Salvation Boulevard might have been tolerable if it had at least been visually intersting. Instead it was like watching a first year film school student movie where nobody had any idea where to put the camera, had no time for lights and no idea what the polarizer in the matte box kit was for. Usually when they give good actors to a director with no credits they choose a really great DP who can keep him in line and take over if they have to fire him. Seriously, how do you make Marisa Tomei AND Jennifer Connelly hard to look at? Two of the prettiest women on earth and they looked like meth addicted hags you'd walk a wide circle around at the grocery store because you were afraid they were gonna ask for money. Maybe Ratliff chose the DP out of self-preservation rather than as a creative choice? Either way this movie couldn't have looked worse. Literally. If I were a film school teacher and a student brought me this movie and said they wanted to be a DP - I'd tell him/her to try editing.
It's not all bad though. Yul Vazquesz was brilliant. If you're a friend of his, his mom or a casting director you should totally go see this movie. He knocked it out of the park.
Salvation Boulevard is strictly for pompous, pseudo-intellectuals that like to go to art house theaters, endure 2 hours of bad storytelling, then pretend to like it so they can feel intelligent for enjoying something no one else 'understands'. (My sympathies go out to anyone who has to endure the conversation afterward with that person.) Maybe Ratliff started out with a point or a purpose but somewhere along the way that point got lost, rewritten, flushed, burned and peed on. There's absolutely no reason for this movie to exist; there's no perspective, it's neither smart nor funny, none of the characters are believable, relatable, interesting, funny, motivated nor sympathetic. The last scene has a completely incongruous 'A-Ha!' moment that only muddies the water further (if I had to guess, other than the character's names, it's probably the only thing they actually kept from the book).
Perhaps the lesson here is about actors' faith in directors - sadly theirs was grossly misplaced.