2008 Woodie Awards
Tiny Film With Big Buzz Is Huge Hit
Jonathan Montalvo
Issue date: 8/25/04 Section: A&E
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Garden State is a cleverly written and directed film that takes an original approach to a tired genre.
Romantic comedies are typically shallow and idealistic. This film is a great love story without all the usual fluff of other films in this genre.
The plot connects two people with glaring flaws.
The film follows Andrew Largeman (Zach Braff), a troubled young man who has floated through life, riding on clouds of psychotropic medication prescribed by his psychiatrist father.
Tragedy forces him to return to New Jersey after having fled to Los Angeles many years before to become an actor.
Going home means having to confront all of the problems he thought he needed to escape.
Back in New Jersey, he rekindles an old friendship with his childhood buddy Mark (Peter Sarsgaard), who reintroduces him to the surreal world he left behind.
Just as it seems Andrew's life will revert to its previous state of unreality, he meets Sam (Natalie Portman) in a medical waiting room.
Sam is a young woman who is as endearing as she is annoying and as wise as she is naive.
Andrew and Sam find a deep connection buried beneath all their superficial flaws. They embark on a journey to obtain a special going away gift from Mark to Andrew.
The ending is not terribly original, but much like the search for the mystery gift, the destination is far less important than the journey.
The finished product is an impressive film in every aspect.
With a cast that includes Sir Ian Holm, Peter Sarsgaard, as well as Braff and Portman, the acting is exceptional.
Braff makes indifference and emotional disability funny. His disconnected persona is remarkably deep and is developed more through abstract expression than it is by dialogue.
Portman tackles the role of Sam effortlessly. She is able to appear both playful and insane, a combination that leaves the audience both delighted and curious.
Much like the acting, the cinematography is not overbearing or overdone. It is aesthetically pleasing, simple and efficient. Many films tend to overdo the camera tricks to convey some poignant message. This film is both restrained and visually stunning. Braff uses fresh camera techniques that are subtle, but even more effective because of their honest approach. The most humorous moments are created by the slick, witty cinematography.
Romantic comedies are typically shallow and idealistic. This film is a great love story without all the usual fluff of other films in this genre.
The plot connects two people with glaring flaws.
The film follows Andrew Largeman (Zach Braff), a troubled young man who has floated through life, riding on clouds of psychotropic medication prescribed by his psychiatrist father.
Tragedy forces him to return to New Jersey after having fled to Los Angeles many years before to become an actor.
Going home means having to confront all of the problems he thought he needed to escape.
Back in New Jersey, he rekindles an old friendship with his childhood buddy Mark (Peter Sarsgaard), who reintroduces him to the surreal world he left behind.
Just as it seems Andrew's life will revert to its previous state of unreality, he meets Sam (Natalie Portman) in a medical waiting room.
Sam is a young woman who is as endearing as she is annoying and as wise as she is naive.
Andrew and Sam find a deep connection buried beneath all their superficial flaws. They embark on a journey to obtain a special going away gift from Mark to Andrew.
The ending is not terribly original, but much like the search for the mystery gift, the destination is far less important than the journey.
The finished product is an impressive film in every aspect.
With a cast that includes Sir Ian Holm, Peter Sarsgaard, as well as Braff and Portman, the acting is exceptional.
Braff makes indifference and emotional disability funny. His disconnected persona is remarkably deep and is developed more through abstract expression than it is by dialogue.
Portman tackles the role of Sam effortlessly. She is able to appear both playful and insane, a combination that leaves the audience both delighted and curious.
Much like the acting, the cinematography is not overbearing or overdone. It is aesthetically pleasing, simple and efficient. Many films tend to overdo the camera tricks to convey some poignant message. This film is both restrained and visually stunning. Braff uses fresh camera techniques that are subtle, but even more effective because of their honest approach. The most humorous moments are created by the slick, witty cinematography.