Brighter than "Sunshine" and more bent than "Sideways"

Rating: 10/10 (16 February 2005)

While I loved "Eternal Sunshine of the Spotless Mind", "Garden State" could be the best movie I watched in 2004. The film was stylish without being pretentious and the dialog was witty without having that "trying-to-be-witty" vibe. Like "...Sunshine...", "Garden State" is a romantic drama with elements of humor, rather than the generic-romantic-comedy-with-the-token-dramatic-scene-thrown-in cinematic goop which we are usually spoon-fed from teenager-loving Hollywood. Unlike "...Sunshine...", however, "Garden State's" first-time writer/director Zach Braff shows us the other side of love. Specifically, what happens when we're not looking for it? When we're not, in fact, looking for anything? A late-twenty-something-slacker, Andrew Largeman (played convincingly by Braff  pulling a triple duty usually reserved for geniuses like Woody Allen, Mel Brooks and Quentin Tarantino) finds life and death and love happening all around him, whether he likes it or not. All the while Braff shows a side of New Jersey that Hollywood usually ignores: "The Un-Sopranos". The film lacks on-screen violence (the only firearm shown belongs to a police officer), gangsters and the ridiculous, over-exaggerated "Noo Joisey" accent that is only heard in bad and/or inaccurate movies and television shows (and which only exists "in real life" in certain sections of New York or in places of Jersey where New York natives have migrated). Braff shows a softer Jersey, while maintaining a sharp edge. The characters are all damaged goods in some way. The idea of the Garden State as a re-birthing frame of mind is a recurring theme. It's a necessary journey for the main players who are all stuck in a rut and wilting. Largeman's romantic interest is the enigmatic (re: compulsive liar) Sam (portrayed with quiet intensity and a chameleon's ability to blend into any role by "Closer" Academy Award nominee Natalie Portman), who seems to be tired of living her lies. Together they find a little bit of truth: You can go home again. Academy Award nominee Ian Holm ("Chariots of Fire") and Golden Globe nominee Peter Sarsgaard ("Shattered Glass") round out the primary cast and add substance, depth and nuance to the story. This film is entirely a work of fiction, but it feels very realistic. If, after you watch it, that sticks with you, it's meant to. If you live outside of America, or in a city, you may think this story would only apply to and appeal to teenagers. If someone were to suggest to me that they could not see the realism and discarded it as "just another teen movie", I would have to offer that they may be out of touch with American suburbia. Zach Braff wrote an inspired script and acted with subdued intensity. He puts more into a look than most actors do with a three page monologue. This film is dramatic, tragic, comical, romantic and touching; it's themes and characters have universal appeal; and the soundtrack acts as a minor character (with plenty to say). Everything about this movie works, yet it was completely ignored by the Academy Awards committee. The only explanation could be that the filmmaker or the studio (or perhaps both) decided not to submit the picture for judging and it was thereby deemed ineligible. This is the only explanation that will allow me to sleep at night. I pictured nominations for three of the four acting categories, as well as best picture, best original screenplay and best director. But what do I know? After all, I thought "Sideways" was overrated. I can only hope that Zach Braff does something else in the realm of acting worthy of critical recognition and Oscar gold, because I would have bumped any of the nominated five for his acting performance in "Garden State". But than (sic) again, us Joisey boyz needs to stick togethers, yo.