At just a little under 130 minutes, this minimalist drama doesn't exactly have a minimalist length, and that's nice and all, seeing as how it's hard not to enjoy a drama that takes plenty of time to meditate upon its depths, much too often, the film finds itself meditating too much on its depths, dragging, if not meandering along fat around the edges until it becomes repetitious, then continuing to drag its feet until it becomes aimless. Even in atmosphere, momentum is too steady to hit all that hard, because even though this film is never dull, to my pleasant surprise, some hint of blandness stand within dry spells that, quite frankly, stiffens pacing, and therefore allowing you to meditate upon the perhaps unreasonable length of the film. Really, there was always going to be some kind of under-inspiration to this drama, as it is quite minimalist, offering only so much kick to conflict and even questionable characters, and ultimately crafting a sparse dramatic tale that still boasts much potential, betrayed by pacing problems. I'm not really asking for an especially unique drama here, but it feels like this film wants to be more than your garden-variety drama of this type, and if that's the case, then even on paper, this film is not off to a great start, as Shawn Lawrence Otto's and Vadim Perelman's script goes tainted with conventions that don't establish all that much predictability, but are still too familiar for you to not notice some under-inspiration in the originality department. Like I said, the Iranian's just can't catch a break, but hey, their and some American's problems sure do make for a good film, even if potential does get a touch "fogged" up (Yes, I said it) by some of this film's problems. Yeah, Ben Kingsley doesn't exactly have the track record with films that he used to, but hey, at least he sometimes does films that some people are bound to see, because that Oscar nomination hasn't exactly been all that beneficial to Shohreh Aghadashloo's career, possibly because people whose names you can actually pronounce tend to be more marketable. Jennifer Connelly's forehead is depressing enough (At least she tried trimming down the eyebrows for this film), so I think it's safe to say that all of these people have led some pretty messed up lives, and they're about to get even more unfortunate, and not just in the movie world. formerly drug-addicted, abandoned and poor woman who shamed her father by losing the house that he died trusting her with. Man, the ignorance of our female lead is startling, as this family came from a hard life to try to find a happy home, yet they go harassed by some pesky. No, this film isn't quite that depressing, but jeez, I'd imagine the immigrants in this film had never seen a territory war this brutal, and they bailed out of Israel, for goodness' sake. Sand and Fog, and it's been the ruin of many a poor boy, and God, I know I'm one." Okay, there isn't exactly a name for the house featured in this film, which takes place in Northern California, way off from New Orleans, but there was no way I wasn't going to make that reference, so just stop your sulking, or at least save it for after this film. "There is a house in New Orleans they call the. Rating: R (Language|Disturbing Images|Scene of Sexuality|Violence) However, Kathy, desperate to get the house back, begins harassing Behrani so he will return it. The place is bought by Iranian immigrant Massoud Amir Behrani (Ben Kingsley), who intends to fix it up and sell it in order to provide a better life for his wife (Shohreh Aghdashloo) and son (Jonathan Ahdout). Reformed drug addict Kathy Nicolo (Jennifer Connelly) has her California coast house, which she inherited from her father, taken away by the county due to a misunderstanding about back taxes.
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