blahblah-46867 This movie is currently on hulu and apparently it was made by Franco's professor which is why he is in it. I think most of us know that you don't need to go to school to create art but this almost seems like a cautionary tale. Do you really want to be taught by people who given the chance, would make this? Isn't this proof that art can not be taught? I don't know. I just know the writing is laughably bad. There are so many long shots of things that I think are supposed to establish some other things but mostly prove that amateur actors and pretentious, sloppy dialogue do not get better if you linger on them. I think the acting was supposed to be detached but whatever they were aiming for they missed it. Now the cinematography was nice and Franco is actually kind of likable and watchable when the movie is not being unbearable. Partially because he looks good here and the director recognizes that so kudos for that. Somewhere down there, there might have been kind of an interesting story. A very romanticized, cliche and unbelievable one that seems more like a fanfiction based on a movie than a movie. TLDR: it's very pretentious and obsessed with being artsy. I'll give them the guy the benefit of the doubt though, maybe he is trying to imitate the room?

gradyharp There will likely be a small audience for this artistic little cinematic treasure SHADOWS AND LIES, but while the audiences crowd in line for the multi-million dollar retreads of comic book heroes and potty mouth 'guy or chick flicks' it is reassuring that there are experimentalists like writer/director/editor Jay Anania and his pupil, the multi-talented James Franco who continue to push the edge of cinema and create the challenges of this jewel-like film. Anania opens his film with a dark in medias res raw episode that quickly moves to an image of Joseph (James Franco) missing his flight to Japan because he steps out of line to retrieve a book. The plane crashes, killing everyone on board, and that opens the doors for Joseph to move to Manhattan to have a new life: he becomes William Vincent, a strange loner/drifter who has a job editing nature films for schools in a sparse storefront abode and also performs petty crimes. What gradually becomes apparent is that we maybe re-visiting what happened four years ago: William Vincent, a quiet and mysterious criminal, falls for a New York gangster's (Josh Lucas) favorite call girl Ann (Julianne Nicholson), after performing some 'deliveries' arranged by one Victor (Martin Donavan). When William's feelings are discovered Vincent is forced to flee the city, threatened with death if he should ever return. But after four years in exile (? in Japan), William secretly returns to rescue Ann from the life of derision and fear she is leading. There are quirky moments in the film where William is in the park and 'sees and talks to' two young brothers - Ty and Lewis played by Ty and Lewis Anania - who may simply be a part of William's previous existence as Joseph. But it is this very disturbing interchange of time sequences that makes the film so powerful - are we watching the now or are we watching the then, and if we are seeing the past, how does the ending make sense? Another observer states it this way: 'The story of William Vincent as he recounts the eccentric and curious path that has brought him, at mortal risk, to New York City, after four years in exile, to rescue a woman he scarcely knows, Ann, from the vague crime syndicate that first brought them together.' Franco is disturbingly brilliant as this strange character Joseph/William and the scenes that simply sit in silence with Franco barely outlined by terrific lighting effects or interacting in spare dialogue with Ann or Victor or the Boss are visually and emotionally stunning. The cinematography by Daniel Vecchione is moody, dark and always appropriate in adding mystery to the story. John Medeski's musical score is primarily a few piano notes and the wheezing sounds of an odd organ (melodica) instrument played by a street person. It all simply works as a brilliant film. Some may label this 'film noir': it is more like experimental 'noir film noir' at every level. Grady Harp

dave-72-638824 Shadows and Lies came completely under the radar for me. I had never heard of it, heard anyone talking about it or been recommended to watch it. This is one of those films, for me, that leaves you with a profound feeling that something special has just happened. this is the kind of film that immediately after watching had me texting my friends, looking for someone to talk to about it.Its a love story but its not the over sentimental type, at times there are scenes that i found to be the most romantic i have ever seen, but it wouldn't make you smile. its a crime story but it doesn't dwell on the details, there's no foul language, and though there is violence, it is utterly believable and not gratuitous. i found this film to be, in my eyes, perfect in every sense, perfectly balanced. with a lean dialogue stripped of any bravado, shadows and lies is extremely naturalistic. it has just enough information on the characters to help you understand them. enough kept back from view that you have room to think about them wonder after them, like or dislike them, or more importantly, like or dislike aspects of each individual's personality.im tempted to liken this film in tone to biutiful, but thats only in the quality of the acting and the subdued palette. this film is original and stands alone. within this film, every character stands alone. the acting is top drawer. i cant even remember of there was a soundtrack. if there was, i missed it completely. if it was there im sure it did its job properly because i was immersed.ill leave the rest to you to find out. but this is a special film and as such this is my very first IMDb review - i was moved to share my love of this film with the world.ps - the cinematography is beautiful.

srushmore I give this a solid 7 out of 10 due to the fact that it was, in my eyes, a very original film full of emotion and body-language.A must see art film.James Franco shines in this subtle film that puts you through different moral standing that will make you ask, "why would he do that?", just as the characters in the story are asking Franco's character. Shot with a "real-world" aspect this plot lays in front of you waiting to be uncovered just as the end will lay in your thoughts.If you have ever felt out of place or different in this crazy world take a look through this genuine character's eyes.