From an independent review
Rebirth – both figurative and in one emotionally overwhelming scene cosmically literal – sits at the core of Darren Grodsky and Danny Jacobs’ ode to ‘70s American filmmaking, Humboldt County. Built around the familiar cinematic chestnut that getting lost is the best way to find oneself, the picture manages to consistently subvert its serio-comic genre expectations and delivers, amid a slew of strong performances, an affecting examination of people coming to terms with the choices they make in life.
Half-comatose after learning he’s failed his way out of a plum residency, tightly-wound med student Peter Hadley (newcomer Jeremy Strong) hooks up with actress-cum-jazz-singer Bogart (Fairuza Balk) and winds up at her surrogate family’s cottage in the hills of the titular burg, where most of the populace earns their keep by growing and selling ganja. Bogart disappears, leaving Peter to fend for himself against her adoptive aunt Rosie and uncle Jack (Frances Conroy & Brad Dourif), her on-again off-again lover Max (Chris Messina), and Max’s daughter Charity (Madison Davenport). As Peter engrains himself in day-to-day life in Humboldt, he awakens to a world outside his straight-laced existence and ultimately finds himself caught in a feud of potentially dangerous ideals between Max and Jack. The arrival of Peter’s father (Peter Bogdanovich) and a massive raid by the FBI pushes Peter toward an emotionally charged series of decisions.
Gorgeously lensed on location in widescreen 35mm, the film succeeds in capturing the essence of a town attempting to resist the darker, Wal-Mart-infused side of societal progress. Humboldt is tall Redwoods, simple homes and small bars, sweeping beaches and lofting tree lines – a bit of a utopia… built on an (acknowledged) illegal economy. It’s worth noting that Grodsky and Jacob’s script doesn’t preach or pander to either side of the marijuana debate – a testament to Humboldt’s impressive unwillingness to offer audiences an easy path.
Films like Humboldt live and die by their casting and its performers all deliver standout moments. Too often banished to the ranks of low-rent DTV genre offerings, Dourif is a revelation here. Faced with an emotionally complex role the actor nails it spot on, growing Jack into a fully realized human being by the end frame. Were there such a thing as filmic justice, it’s the sort of performance tailored to launch a full-on comeback. Balk, talented but frequently miscast, lights up the screen in her brief turn (highlighted by a bang-up jazz number she performs early in the film). Newcomer Strong holds the film’s center together, called on to carry a number of difficult scenes. Bogdanovich’s extended cameo is an icy, sadly hilarious ode to mistaken acts of parental indifference.
Too often caught up in hazy memories of what American cinema accomplished in the ‘70s, filmmakers attempting to emulate its rhythms and styles have a tendency to miss their mark. Humboldt County succeeds in crafting a naturalist, character-driven comedy of human error that could’ve genuinely sprung from the ripe corners of the artistically-minded studio system of yesteryear. Good things ahead, no doubt, for both the film and its creators.
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Now if you'll excuse me, I'm going to go on an overnight drunk, and in 10 days I'm going to set out to find the shark that ate my friend and destroy it. Anyone who wants to tag along is more than welcome.
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