User Reviews

Some of the other reviews summarize this pretty well. The Mosquito Coast details flawlessly the grotesque decomposition of a good and true man. Harrison Ford's Allie is driven insane by his own intelligence and inability to control his ego. Even more remarkable and disquieting is the fact that this is based on a true story. In some ways, Allie reminds me of Dr. Mobius from Forbidden Planet. But the demons Allie conjures up are far more grotesque and deadly than anything from even Mobius' warped imagination. I conclude that this is a true piece of art and science -- magnificently crafted from beginning to end -- and I will NEVER voluntarily watch it again.

Frothing at the mouth with disgust for his homeland America, inventor Allie Fox (Harrison Ford), with family in tow, pulls up roots, and moves to Central America. Here, he proceeds to build a new life in the jungle, using his mechanical skills, his inventiveness, and in particular his patented machine, which produces ice, sans electricity. "Ice is civilization", he proclaims with unctuous authority. That will be the foundation for his utopian dream. But Allie is so headstrong, so convinced of his infallibility that his vision blinds him to reality. And the film's ending is poignant.

Delusion and self-deception breed nightmarish outcomes. And the cinema, through the years, has dramatized these themes quite well, in films like "Aguirre: The Wrath Of God", "Fitzcaraldo", and "Deliverance". In real life, delusion and self-deception were the basis for the events surrounding American preacher Jim Jones who, in the late 1970s, relocated his naive flock to the jungles of Guyana, whereupon he established Jonestown, envisioned as a religious utopia. The result was tragic.

Beyond the deep themes thus expressed in the script, "The Mosquito Coast" looks good visually. The tropical scenery is spectacular. Production design and cinematography are terrific. And the film's score, by Maurice Jarre, is wonderfully exotic and majestic.

My only complaint is the character of Allie Fox, who at some point badmouths just about everyone and everything. I could have wished for a quieter, less loquacious, madman. Then too, Harrison Ford plays Fox in a way that overrides subtext. In short, Fox not only is delusional and self-deceptive, he's also preachy, domineering, and totally lacking in compassion for others, someone whom we as viewers cannot root for or have any empathy with.

"The Mosquito Coast" reminds us that the grass is not always greener on the other side of the fence. Chasing that elusive pot of gold at the end of the rainbow is for dreamers. This is a good film to watch when you're facing a pile of problems. You could be like Allie's family, trying to forge some existence in the jungles and listening to the rants of an icy madman.

With much of Harrison Ford's career during the eighties dominated by his participation in George Lucas and Spielberg blockbusters, it comes as a relief to discover that in between his numerous flights on the Milennium Falcon and slashing his whip he found time to star in many low key movies. Among these hidden treasures is The Mosquito Coast, a character driven story about one mans attempt to recreate an Eden in a faraway land. And his secret to survival? Ice.

This is an interesting movie, not only because it has an all star cast, that includes River Phoenix, but because we see Harrison Ford give his all to creating a character that is multi dimensional. He is an idealist and has the best intentions, yet is doomed to failure as the viewer senses an impeding violent side to his vision which will come to destroy him.

As a movie this is a good study of man's attempt to act upon his dreams, as a lighthearted pop corn flick this will annoy the average mainstream cinema goer. Simply put, many people will find it hard to imagine Harrison Ford as anything else other than the super hero incarnation of Indiana Jones, and multi faceted anti heroes that never see the errors of their ways is a genre of cinema that Hollywood hasn't quite got their head around yet.

For everybody else who would like to see a movie that has depth, great acting and a solid script, this will be excellent viewing.

I can almost guarantee that anyone who has seen 'The Mosquito Coast', then looked at the subject line of this review, thinks I'm crazy. The truth is that this film is deeply flawed and undeniably weak in many regards, but it had a quality I cannot describe. This is the only film I have ever seen that, despite many shortcomings, manages to come out of the storm relatively unscathed, and become an unforgettable, almost haunting, movie.

The production values are immaculate. Peter Weir's direction is excellent, and is in top form here. He has crafted a thick shell that blocks the flaws from coming up to the surface, an indescribable feat that very few directors have accomplished. The musical score is good, not outstanding, but it's fitting, and surprisingly subtle. There is only about six minutes out of the entire film that has musical accompaniment, which makes for a very unique experience, and not necessarily a bad one. The tropical cinematography is dazzling, and the decision to shoot on location in Belize instead of on a studio back lot really paid off, contributing greatly to the film's success.

As good as the mentioned characteristics are, nothing is as good as the acting, especially that from the two leads: Harrison Ford and River Phoenix. Prior to this, Ford had made a name for himself with big budget action roles, with several failed attempts at drama (Hanover Street being the best example of that). It wasn't until 1985's 'Witness' (which Peter Weir also directed, that Ford was taken seriously as an all around actor. Personally I think Ford's performance here greatly overshadowed his work in 'Witness', and is a career best for him, even in the light of 'Regarding Henry' and 'Presumed Innocent', both made after his. He takes the character of Allie Fox, and moulds him into a selfish, driving maniac, blind to the wishes of others, only caring for himself. Phoenix, on the other hand, deserves even more acclaim, for several reasons. For one, this was only his third film, after 1985's 'Explorers', and 'Stand by Me', made right before this. Secondly, he was only 15 at the time of the shoot, and had little acting experience, yet he easily out acted most of his co-stars. Though his performance wasn't quite as refined as Ford's was, he still reached a level of near perfection and set the stage for a glorious, and ultimately tragic, career.

The story is one of utter genius, one of the few original ones popping up in an industry full of sequels, remakes and rip offs. Based on the 1981 bestseller by Paul Theroux, and co-starring Helen Mirren, 'The Mosquito Coast' deserves a place among the best films of the 80's.

But wait, I'm not done. Despite a great exterior, deep inside the movie is troubled. It's as if director Weir pushed all the movie's problems deep down under the surface, then piled layer after layer of... something, on top of it, hiding them from the clueless audience. My main problem with the movie is that it yearns to break away from it's literary roots, a problem that could've been easily avoided had the right script come along. Entire conversations are lifted from the text, and there isn't a single line that doesn't have an equal counterpart in the novel. For me this got extremely tedious as, hours before popping in the tape for a second viewing, I had finished the book, and the two are much too similar.

Another problem I have with it is that the scenes are much too short, with none of them running over about a minute and a half. An obvious result of this is that many subplots remain unresolved, and several concepts are hinted at, but go without further explanation, making for a confusing story. If the screenwriter had put a little more effort into making the film different than the book, with new scenes, we would have seen a much better end product.

A third, albeit a smaller one, is that the production team apparently spent too much time making sure that the movie would get a PG rating, though it would've been much better had it gotten an R, or even a PG-13 rating. That would've allowed Ford a little more breathing room to tweak his character, possibly allowing Allie to become less sympathetic, more of a madman.

I can't think of much more worth saying to put in this review, so I'll end it with this note: see the movie, even if you've read the book, but don't do the two back to back.

Harrison Ford is often described as a movie star rather than an actor, but "The Mosquito Coast" easily disproves that (actually, so does "Blade Runner", but I digress). It's a fevered performance on which the whole film rests. Easily worth a watch.

But it also demands a lot from the audience. For one, there's an undercurrent of dread that's there right from the start and it's hard to watch Ford's mercurial character drag his family to the far ends of the jungle essentially to reboot civilization (a myopic one, at that). All I could think of was my family in that situation (hell, no).

I'm not going to lie, this is a hard movie, rife with misfortune; on occasions shocking, infuriating and exhausting. But I was glued to my seat until the very end, primarily because of Ford's deteriorating mental state. That's a house of horrors unto itself. This is a well-directed movie but man if it's not wearing.

Harrison Ford is brilliant in this film, as is the rest of the cast, and I am a big fan of this sort of film that explores the human psyche. I, however, wish the film spent just as much time showing the Missionaries evils and maniacal religious B.S. as it did painting Ford's character as a dangerous megalomaniac. I disagree with many of Ford's characters decisions over the course of the film...and in the long run he ends up becoming exactly what he set out to destroy, but his ideas on America are SPOT ON (and are just as relevant today) and it goes without saying that his errors are paled in comparison to what Christian missionaries have done through the brainwashing of the 3rd world people. My point is that Ford's character's plans were ill-conceived and nutty, but the world he left was just as insane.

Harrison Ford gives a superb performance as Allie Fox in "The Mosquito Coast." It earned him a Golden Globe nomination for best actor. Fox is a genius of an inventor, with many patents and pending patents. Though, as with many people of true genius intelligence, he is lacking in social skills. And, his emotions and psyche waiver from the range of common human relations. He is radical in his viewpoints.

The difference between him and others like him, is that he does something about it by moving his family from America with its usual comforts -- besides its problems as he sees them, to the jungle of Central America. He sets out to create a utopia, but instead molds a dystopia. In the process, he becomes a tyrant and oppressor of his family. The contrast is obvious where Fox talks about freedom and the lack of it, and then lays down a heavy hand subjecting his family to hardship and frightening times.

The movie is based on a novel by American-British author Paul Theroux. I don't know how closely the film follows the book. The film clearly depicts a genius and idealist who is extremely proud. He knows he is superior to everyone else. In time, he becomes egomaniacal even with his family. More than once in the film, Fox says that he is doing this for them - his family, his children. But he is delusional and is obsessed with achievement while disdaining any outside help.

Others of the cast are very good. Helen Mirren plays Mother, wife of Fox. River Phoenix is the oldest son, Charlie, through whose eyes the story is told. Others in the supporting cast are very good as well. Most notable among them is Conrad Roberts as Mr. Haddy.

The film production is very good in all of its technical aspects. And the acting is first-rate. But this is a difficult movie to sit through. It seems quite long and many viewers may find it boring. It's not a movie that people can enjoy, but is more like a sad tale. For those reasons, it can't score higher than seven stars.

Who hasn't wondered, considered, or fantasized about leaving this whole rat race beyond and go off somewhere remote to just do your own thing? I know I have and sometimes still do. Well, the main character here, play by Ford, does just that, and he brings his entire family along with him. Despite his good intentions they are all met with considerable obstacles and challenges throughout. There were times that I felt for his character, but even more so for his wife and kids being reluctantly pulled and pushed along on his obsession. There are definitely some issues with this film, one being a lack of clarity in its message, but I still think it is worth checking out.

Mosquito Coast is one of the best books I have ever read, and the movie does super well to do justice to that novel. It is also one of Harrison Ford's best character roles; the eccentricity and opinionated genius of Allie is done to perfection by him. Peter Weir's brilliant direction is to be expected considering his other masterpieces – Fearless, also based on an excellent book of the same name, is one of the best movies yet. His films (Truman Show, Green Card, and Witness come to mind) tend to chronicle troubles and eccentric characters to go out on a limb, literally.

The narration is carefully done, only enough voice-overs to explain the philosophical implications and underpinnings of the characters' thoughts and actions. There are, of course, some mysterious elements to how things happen, which can only be remedied by reading Theroux's book of the same name.

Taking a very Robinson Crusoe-esquire piece of fiction and putting it to film is not an easy process. In fact, this is the kind of novel that can be very easily messed up by the movies with strong action and adventure type Hollywood direction. Luckily, Weir has done an excellent job portraying the characters – not so much the plot – of those who will come to inhabit The Mosquito Coast. In short, not only is Mosquito Coast a film to watch, it should be required.

RATING: 10/10 "We eat when we're not hungry, drink when we're not thirsty. We buy what we don't need and throw away everything that's useful. Why sell a man what he wants? Sell him what he doesn't need. Pretend he's got eight legs and two stomachs and money to burn. It's wrong. Wrong, wrong, wrong."

The Mosquito Coast is a movie that has many things going for it, but fails to combine all its excellent ingredients in a way that makes it feel great. I think there's still a good deal to like, but overall, it feels a bit unsatisfying and disappointing.

You have an interesting premise, with a deranged father leading his family to live in the wilderness. You have Harrison Ford playing one of the most villainous characters he's ever played (maybe the most villainous?) You have a great supporting cast with people like Helen Mirren and River Phoenix. You've got a fantastic composer in Maurice Jarre. And then there's Peter Weird directing, who's made several classics, often involving themes of isolation or "adventures" that go wrong or people getting by in unfamiliar situations.

At the end... it's fine? It never really hits that point where it becomes something else, though. Maybe it's Ford's character- while I found it a breath of fresh air for the protagonist to have few, if any, redeeming qualities, maybe that hurt my engagement with the film in the long run.

Anyway, good premise, good acting, good music, and the the way it's shot is solid, too. Maybe it just needed a tighter script to keep things more interesting, or at least more consistent. It does feel poorly adapted into a movie, screenplay-wise. You can tell these lines are from a novel, with much of the dialogue sounding like they're just reading off a page.

You can watch "The Mosquito Coast" and think of how cruelly the world tends to treat idealists. Or you can think how cruelly Hollywood tends to treat literature. It's true either way.

Harrison Ford stars as an inventor named Allie Fox, who leads his wife and four young children into the wilds of Central America (Belize here, Honduras in the novel) to get away from Western civilization, where people eat too much of the wrong things, anesthetize themselves with cheap entertainment, and are lulled to sleep by the falsities of materialism and Christianity.

Allie is better than that, of course, and so he plunges himself and his family into a jungle clearing beside a river. There they create a rustic utopia they can call their own, complete with a giant ice machine that works from internal combustion fueled by ammonia hydroxide. For a while they enjoy the simple life, complete with air conditioning and pedal-powered laundry machine. But paradise can be easier to attain than it is to maintain.

Ford obviously wanted to sink his teeth into some deeper material after the success he had in so many popcorn classics. He was coming off his best performance, in "Witness," and took that film's director Peter Weir along for the river run. You have to give Ford credit for seeking such challenges at the apex of a profitable career, and he does a good job with the character in the script. But the script presents more of a star vehicle for Ford's ambitions than anything worth viewing on its own merits.

It's funny that reviewers like Roger Ebert slammed this movie when it came out because Ford's character was unbearable. Allie Fox in the novel is unbearable, which is why the book is so good. He pushes and pushes his family and punishes them for their devotion. Even before making landfall in Central America, he goads his oldest son, Charlie, to climb a ship's mast and swing from the rigging. He rags on Charlie constantly, without reason, and is a thorough misanthrope, albeit often compelling as portrayed in the novel by Charlie's narration and author Paul Theroux.

But Fox in the movie is not so unbearable. We see Fox and his son, played by River Phoenix, share laughs and backslaps. He hugs and jokes with his wife, "Mother," played by Helen Mirren. Fox in the book is a dark man who spews insults at people, or makes loaded comments and then excuses himself with a terse "Just kidding." Ford imbues him with a sense of humor, an air of reasonableness, and squares off with antagonists who are truly nasty rather than ambiguous targets of Fox's hostility.

Ford maintains Fox's sense of idealistic contempt with Western civilization, and has fun with the many rants Fox throws up. A nice scene shows him going on about something as he starts a chainsaw, continuing to talk as the saw's roar drowns him out and not noticing. But a lot of the time Ford presents us with a beautiful dreamer, and the central idea of the story, that Fox is quite a dangerous man, is lost.

The result is a picture that lacks something the novel has, a sense of depth that gives perspective to the suffering we witness. The story in the book is Charlie's discovery of his father's selfish, dangerous heart. In the movie, it's more like: Why do bad things happen to courageous idealists? After a while, you start to glaze over from it all, and "Mosquito Coast" becomes an ordeal without a point.

Someone once said that ignorance is bliss; and if you follow through the reasoning process that leads to that conclusion, you discover that it is, indeed, true. Another way of saying it would be, that the less you know, the happier you are likely to be; kind of a `what you don't know can't hurt you' perspective, but true, nevertheless. Conversely then, what can be said about knowledge? About knowing too much? Can genius, for example, be equated with a life of torment? Can knowing-- and more precisely, understanding-- too much bring about anguish and unhappiness? The answer to that , of course, cannot be absolute, for there are a number of variables that must first be factored in, one of the most prevalent being that thin line that separates the true genius from madness, and how close to which side of that line the individual in question resides. It's a situation examined in depth by director Peter Weir, in his riveting, thought provoking drama, `The Mosquito Coast,' starring Harrison Ford, Helen Mirren and River Phoenix.

Allie Fox (Ford) is a family man; he has a devoted wife, `Mother (Mirren),' and four children, the eldest of whom, Charlie (Phoenix), thinks his dad is a genius. Which he is. Allie Fox is an inventor who believes it's man's job to tinker with an unfinished world and make it work. He is also a true individual, the epitome of the man who marches to his own drum-- and in his case, his drum is the `only' one he will march to. He sees such potential in everything around him, but he also sees that very same potential being wasted at every turn by seemingly everyone, from the average guy just trying to make a living, to a Corporate America he sees as the impetus that has already begun to destroy the nation. All around him he sees a country and a people that has lost that spirit that made America strong; he sees ruin and decay in everything: In the lack of quality in any and all manufactured goods, and in the apathy of the acquiescent consumer. And he's had enough. Refusing to stand by and watch America die, he packs up and moves his family to a remote section of a jungle in Central America, near the coast of La Moskitia; and it is there that he discovers a land, that to him, is paradise-- and where he also encounters the demons that plague those who know too much, and feel too deeply.

Working from an intelligent and penetrating screenplay by Paul Schrader (adapted from the novel by Paul Theroux), Weir delivers a thoroughly engrossing character study that parallels Werner Herzog's 1972 masterpiece, `Aguirre, The Wrath of God,' inasmuch as it examines the effects of self-perceived omnipotence in an individual driven to extreme measures by a singular quest for power and autonomy (albeit in different times and with different motives). Allie Fox, like Don Lope de Aguirre, becomes a victim of his own obsession, consequently victimizing those around him, as well, by losing sight of his own ideals and getting swept away in the current of a distorted sense of purpose. Allie leaves an environment he perceives as defective for one that is ultimately equally flawed-- that being the environs within his own mind. All of which is hauntingly presented by Weir, aided by John Seale and Maurice Jarre, whose cinematography and score, respectively, helps to create the atmosphere that so effectively underscores the drama of the story.

As Allie Fox, Harrison Ford gives a performance that is one of his best and most powerful ever, affecting a commanding presence that dominates virtually every scene-- so compelling that his presence is felt even when he is absent from the screen. This isn't a character you are going to like, necessarily; and yet you are going to care about him, because there's something in him that reflects and addresses concerns that are universal, which makes Allie someone to whom many in the audience will be able to relate and identify. He's the man who believes that he truly `can' be an island unto himself, and beyond his personal peccadilloes, that is the kind of strength that demands admiration; for at the same time, it enables forgiveness. It's a solid portrayal of a man at cross purposes with himself, who realizes to some extent what he is doing, yet adamantly refuses to back down. And this is the man Ford brings to life so vividly; he's convincing, and his Allie Fox is disconcertingly real.

Helen Mirren also turns in a memorable performance as Allie's devoted wife, whom he calls `Mother.' Mirren says more without dialogue-- through a subtle expression, or even the merest glance-- than most actors do with a limitless number of words. And it's her moments of silence that are some of the most telling of the film, while at the same time adding strength to the lines she does recite. In the end, Mirren creates a character who chooses her words well, then uses them wisely-- and it's a portrayal that is, without question, one of the strengths of the film. In the way Mother looks at Allie, Mirren conveys that love and absolute loyalty that makes everything they do believable. There is complete trust there, which you can feel when, standing in her kitchen, for example, she gives a final glance at the dishes piled high in the sink; a glance at the life she's leaving behind to follow her husband. And she's happy. In it's simplicity and brevity, it's a powerful scene that says so much about who she is, and who `they' are. And Mirren makes it work beautifully.

Phoenix does a solid job, too, providing the narrative of the film as Charlie. He is perfectly cast as Ford's son, and he succeeds in giving `The Mosquito Coast' that sense of reflection and perspective that makes it a truly memorable, and emotionally involving, film. 9/10.

We didn't come this far as human beings just to go backwards. Why reinvent the wheel? That's pretty much what Father aka Allie Fox (Harrison Ford) was doing.

Allie could be labeled eccentric, enigmatic, or even kooky--if he were single with no kids. Attach a wife and kids to him and then he becomes an unfit husband and father.

Allie took his family from the cozy lands of the United States into the jungles of some South American country in order to find a utopia that he would build. He was an inventor, and a darn good one. He was also arrogant. So arrogant in fact that he repeatedly put his family in harms way by believing in his own ability to create. He was an arrogant atheist with a God complex. He believed that the God he didn't believe in created a flawed and imperfect world and he was going to perfect it with his team... meaning his family: Mother (Helen Mirren), Charlie (River Phoenix), Jerry (Jadrien Steele) and the twins.

It was hard to watch "Mosquito Coast" without wishing for Allie's demise. He wasn't evil by any means, but his arrogant and hair-brained schemes had the same look and feel of an evil dictator's. And maybe shunning help in the pursuit of perfection is just that: arrogant and hair-brained.

It's no wonder moviegoers were left perplexed by the film of Paul Theroux's best-selling novel: What looks like a modernized Swiss Family Robinson survival adventure is actually a thinly disguised and unsettling allegory, with an unsympathetic (and largely metaphoric) protagonist. Harrison Ford stars as Angry American Allie Fox, a paragon of Yankee virtue and individuality: inventive, proud, and possessed by an arrogant idealism that eventually destroys him. Sickened by the rampant corruption of American consumerism, he removes his family (with the effortlessness of true fantasy) to the unspoiled wilderness of Central America, creating in the jungle a self-sufficient Utopian Eden, later to be annihilated by the unchecked magnitude of his own delusions. Paul Schrader's screenplay exaggerates the character, but never beyond credibility; it's doubtful Theroux's story could be told in strictly realistic terms anyway. The only thing missing is a good resolution: the apocalyptic climax occurs too soon, and the film has nowhere else to go afterwards.

The Mosquito Coast was the second collaboration between Harrison Ford and Peter Weir, coming directly on the heels of their first, the superb Witness. Like his work with Mel Gibson at the beginning of the decade, Weir's teaming up with Ford allowed the director to find a muse who would not only be able to accurately portray the complex themes and emotions of the character, but also give the actor a rare chance to demonstrate his true worth as a versatile performer.

Harrison Ford, as the eccentric inventor Allie Fox, is given full control here and takes on a character that no one would ever expect to see him in, or would ever really expect to see him in again. He has played the guy who is fed up before, but Allie Fox is fed up to the point of insanity. He's had it with America and in an ongoing series of Howard Beale-esque diatribes on the state of his once great country, he decides to pick up his family and move them all to the jungle, to experience life at it's most basic. At first it's a dream come true, but soon the Fox family finds that it's not America that's lost it's way, it is the whole of society and you'll encounter it wherever you go.

The Mosquito Coast is more about it's themes than anything else, taking on serious explorations of the American family, the loss of innocence in a father/son relationship where the son must become a man and stand up to his father and many facets of religion and it's place in the family and society. I felt like the mother's unwillingness to stand up to Allie was a little unbelievable as his descent into madness progressed, but it was a necessary artificiality in order to bring the character study full circle and turn Allie into the kind of menace that he was constantly accusing America of being. He brings his family down much in the way that he claims America is bringing everyone else down, and it's a powerful dissection of this deeply flawed and arrogant man.

Ford delivers what could well be the finest work of his career, stripping away all of his immense charm and taking on a deeply unlikeable character. This is a man who could have easily been torture to have to sit with for two hours, but Ford's charisma and always engaging screen presence is able to make him a fascinating man to study. River Phoenix does fine work as the eldest son of the family, as does Helen Mirren as the mother.

Weir's absorbing direction takes a bit of a backseat here, settling for a more conventional tone and instead allowing the story and the character to take over the picture, which is a bold and appropriate move for him to make. It speaks to his intelligence as a director that he knows when to step back and let the other elements take the front seat, although there are still a few magnificently staged sequences that stand strong in Weir's roster of them.

A tale of an eccentric genius with an equally eccentric dream and his desire to escape a supposedly doomed America with his family to form a retro civilization in the tropics. It's difficult to like Harrison Ford (Allie)-especially in the last third of this movie when he starts really going off the deep end. But it is unique and really illustrates the mindset of an eccentric genius character well. If you are a middle-of-the-road (perhaps slightly Democratic) person with a 9-5 job-you know...the kind that the doomsayers claim has not "woke up" to what is going on, then you won't get it. You won't like it at all either. But art is not about being liked and often it is not even about passing judgment. Art is about illustrating the phenomenon of what it is to be human-without using crayons.

I am a "child" of the 80s, and loved the big blockbusters (and at the top of that list, Star Wars and Indiana Jones). Harrison Ford was and still is an idol of mine.

When I first saw Mosquito Coast on video in the late 80's, my expectations were of a grand adventure in the tradition of Indiana Jones. I just rewatched the trailer for the film, and the narrator literally mentions Indiana Jones and says that this is "Ford's biggest adventure yet." The trailer is almost 100% composed of explosions, which again completely sets the wrong expectations. So when I saw it as a young teenager, I was thoroughly disappointed at the lack of action. There was just too much pesky dialog and not enough "good parts." Not enough explosions, by golly! Well, almost 30 years later, the film holds up incredibly well, and I find it infinitely more enjoyable than that first viewing. In my mind I put it in a category of "Ford's boring movie", but now I see it as one of his finest acting performances (possibly his best), and the story and production of the film has an artistic quality that was completely unappreciated by kids in the 80s, and even critics in the 80s (Roger Ebert gave it a thumbs down for being too boring).

If this movie was released today, I would not be surprised to find it on the Best Picture nomination list, and Ford up for best actor (and River Phoenix for supporting actor). The film is just incredible. The underlying storyline about consumerism is as relevant today as ever. The characters are unpredictable, yet you can identify with them. The location shooting adds a dimension and authenticity to the film that just cannot be replaced by filming on a Hollywood studio backlot.

In summary, I highly recommend this film and plan on adding it to my very limited personal collection of treasured movies (right next to Indiana Jones!).

Harrison Ford certainly does a great job bringing a nutcase abusive genius inventor to life. But it's hard to really enjoy a movie with such a protagonist with almost no redeeming qualities. I think the only good parts for good character was when he would argue with the reverend.

It might have worked better if they kept River Phoenix as the focus, which is how it starts.

Also Hellen Mirren as the mother just seems grossly miscast. I simply find it unbelievable that this mother would be such a doormat to her husband's crazy whims.

Love Peter Wier. Love Harrison Ford and Helen Mirren. Hated this film. I could not, for the life of me, work out exactly what this film was trying to say or where it was intending to go. It astounded me to hear that Harrison Ford regarded it as one of his favourite films. Perhaps I'm missing something. But as far as I was concerned, the film generally lacked engaging qualities and the story seemed oddball, direction-less, contradictory and dripping with self-importance (that it didn't deserve). Really disappointed with this heap of dung. I don't think I missed the point because I don't think that the film knew what point it was trying to make - so how can any viewer profess to? Lies somewhere between "trash" and "dreadfully cluttered attempt at poignancy". 1/10.