User Reviews

A recently paroled convict, who as a teenager shot and killed a young convenience store worker, is left to find his way in society; he's offered a custodial job from a hot-tempered, streetwise pastor, and hopes to connect with the sister of his victim in order to complete the cycle of redemption--but he finds it isn't that easy. Billy Bob Thornton gives a controlled, emotional performance that comes from deep within. The film isn't quite in balance--and has some quirky, uncertain moments near the beginning that either don't ring true or just don't feel natural--but stick with it and you might find resonance in the extraordinary acting and the way the story arcs in just the right way. Terrific casting and performances, atmospheric production and locales, several amazing, emotional moments. *** from ****

"Levity" is about redemption; it is about a lot of things inside something ironically simple, about philosophy and the human mind, about thoughts, second chances and about many other things if I want to say them. It's also one of those pictures with a cast of terrific actors who got interested in the project for some reason and did it.

It is worth it, if you like slow and detailed stories that are easy to understand f you don't think much; kind of like "The Constant Gardener". But "Levity" is different from 'Gardener' in the way that things are more difficult to understand; the film is truly philosophic. The music, a mix of powerful songs, is a key element in the development of the story, which maintains a mood of depression and sadness.

The story was written by Ed Solomon, who also directed. What is interesting and discussable about Solomon is that he seems to have saved his best lines and ideas for his first movie as a director, because he has written nothing like this in the past. His movie credits as a writer include: "Men in Black", "Charlie's Angels" and "Super Mario Bros", among other films that are not better than this one, which isn't great itself.

You like the movie because of its honesty; the honesty of its story, of its characters, of its images. The frames and sceneries are so beautiful and so clear that you are not able to take your eyes off the screen; maybe Roger Deakins (director of photography: "The man who wasn't there", "A Beautiful Mind") has something to do with it.

Then you've got the terrific cast, which makes the movie even more watchable. I was surprised that Morgan Freeman's voice is recognizable over a phone. Freeman plays a role in the film, which he also produced. At the top of his game and in the platform of a calm man; he speaks his lines as if they weren't Ed Solomon's but his own.

Billy Bob Thornton stars as Manuel, the main point of the movie. Thornton, an actor who can go from peaceful ("The man who wasn't there") to totally crazy ("Bad Santa"), finds himself closer to the side of the movie in black and white than to the one in color, if you know what I mean; and he does it perfectly well; I still wonder how he studies a role, how he constructs it.

Holly Hunter is the female element. Hunter is the kind of actress who can pass totally unnoticeable in a film, but however leaving you a big impression. I admire that quality in a performer; and Hunter portrays her role so normally, that she comes as the closest to a human being in the picture. Then we have the talented Kirsten Dunst, over the edge as most of the time, and creating another good character with a lot of authority and commitment.

As it looks like, "Levity" can't fail; but it's not going to blow your mind off. If that pleases you

I like this film. It has shadows in it's plot that seem to come from other film plots, but does them in a different way; and very well executed. Though not GREAT (i tend to lean toward films with lots of action) this one holds it's own.

Kirsten Dunst is awesome. She plays a mixed up (formerly) rich girl who's addicted to partying. I think to forget her problems at home and let loose. She's not depicted too often in the partying state, but mostly seen 'the morning after' in whatever state she happens to be in. Nevertheless, I like the way she seems to just brighten up a scene; even if she is out of it sometimes (her character, not acting).

Bill Thorton! What can I say? Does he ever NOT give a commanding performance! He's just damn good. Even when he's supposed to be a subdued character (like this one and Bandits, maybe even Slingblade) he seems to steal the show. Well, he did have the lead role. But still, he's versatile and just fun to watch.

All I can say about Holly Hunter is, "Why isn't she in more films these days???" She's adorable and talented, but there's more. She brings a certain depth to her art that just wouldn't be there with anyone else.

I'd like to see this same cast in many films. A wide variety of plots and locations and genres. Good entertainment and great moral story.

7/10 thank you

If there is a common theme running through Billy Bob Thornton's dramatic roles, it would have to be a man's search for redemption. It can be found in SLING BLADE, A SIMPLE PLAN, THE MAN WHO WASN'T THERE, MONSTER'S BALL, THE BADGE, and again in LEVITY, the film directorial debut of screenwriter Ed Solomon. Unlike more 'commercial' actors, who would prefer playing innocent victims framed for crimes (or would be 'heroic' in committing 'justifiable' deeds), Thornton's characters are guilty of their trespasses, and accept their punishment as deserved. This gives his performances a sense of reality that is always interesting to watch.

In LEVITY, Thornton is Manual Jordan, a 'lifer' who has spent over twenty years in prison for shooting and killing a kid during a convenience store robbery, as a youth. The act was not a crime of passion, it was simply an involuntary reaction to a quizzical 'look' the kid gave him, an expression that would bond the two of them for years to come.

When a parole board decides to commute Jordan's sentence ("Why?" he asks, stunned by the decision after saying he was content to remain in prison), the middle-aged man finds himself alone in an alien, indifferent world, with only the kid's 'ghost' as company.

Jordan decides to try and help the victim's sister, Adele (the ageless Holly Hunter), without revealing his identity ("If you're trying to 'hit' on me," she quips, "I have to warn you, over the years, my standards have lowered..."). She has her hands full with a wild teenaged son, and can't quite figure out this taciturn, long-haired vagrant!

Answering a ringing pay phone, Jordan finds his way to a jaded lay minister (Morgan Freeman, excellent, as always), who, recognizing him as an ex-con, provides him with a place to stay, and a job, cleaning and directing teens from a dance club into the broken-down mission he runs, next door. When Jordan tells the old preacher that he doesn't believe in God, the old man snaps, "I'm not asking you to! I'm asking you to work!" One of the rowdy 'club' teens (Kirsten Dunst), the daughter of a 'one-hit wonder' singer on the skids, finds herself drawn to Jordan, despite his obvious disapproval of her lifestyle.

As with all the best 'indies', there is a richness of character in LEVITY, with each actor in top form. Subtly building to a surprising revelation and an emotional climax, the film may not appeal to audiences who prefer pyrotechnics to plot, but if you like movies with believable characters, and an involving story that unfolds at it's own pace, you may find it to be a very rewarding experience!

_Levity_ is fun and kind of refreshing. There are those who may suggest that it lacks the very thing it names, but I think that's an unfair analysis. The movie has tons of great comic moments, most of which are lost on its protagonist. However, that's kind of the point: Miles and Adele are both able to find solace in their blackly humorous lives, while Manual's primary problem is that he is living in the past and unable to see the kind of person he has become. The resulting deluge of metaphors (life to humor to forgiveness ad infinitum) gets a little burdensome at times, but the movie is coming from the right place and so gets high marks from me.

Thornton is once again great. Hunter also does a great job of getting behind her role. It's obvious that both of them are the character actors of the film, and they have to carry it through. Freeman and Dunst are fine where they are, but don't expect any revelations there.

The young man who played Abner the First was particularly good, despite a paucity of lines. I'd like to see him again.

Give this one a shot.

Released in 2003 and written/directed by Ed Solomon, "Levity" concerns a man in the Great Lakes region (Billy Bob Thornton) who's released from prison after 23 years of confinement. He returns to the big city where he murdered a 17 year-old cashier and finds lodging & work at a community house run by a priest with edge (Morgan Freeman). Seeking forgiveness, he pursues a relationship with the sister of the boy he killed (Holly Hunter) while helping a wild young woman who lacks adult guidance and is wasting her life (Kirsten Dunst).

The meaning of the title, "Levity" can be traced to this conversation: "What are you thinking about?" "Gravity." "It doesn't last long." So 'Levity' is meant as the opposite of gravity and graveness. It stems from the Latin root 'levis,' which means "light in weight" or even "changeableness." It means "lightness" in every respect. Life is tragic and painful. We do senseless, unkind things to one another in various states of spiritual growth and immaturity. We spend our whole lives being dragged down to our inescapable end ("Gravity kills"). But we sooner or later must let go of this gravity and realize that there is joy to be had. Redemption is the return of that joy, that Levity.

Critics argued that the flick could really use some levity in light of it being burdened by dour self-importance and a heavy-handed moral. The tone is similar to other spiritual movies, like "Grand Canyon" (1991) and "The Woodsman" (2004), but not as effective in overall quality. One problem is there's a little too much ambiguity and another is the weakly executed subplot about the woman's juvenile delinquent son and his violent gang proclivities, which comes off wholly contrived.

Still, there's enough good here to recommend to those who appreciate the kinds of films noted above, films that try to balance the reverence and beauty of life with the profane, foolish and ugly. I loved the way Dunst' character rolled with the inner city youth. Actually, all four main cast members shine in their roles.

The movie runs 1 hour, 40 minutes and was shot in Montreal.

GRADE: B-/C+

Beginning with the title, it is not a movie attracting wide audiences or interest from advertisers, but it is definitely among the best indie/Sundance movies - both topic-wise and actor-wise. As for the issues touched, viewers can ponder on and over forgiveness, remorse, revenge, second chance, making choices and some other complex and ambivalent things, all this packed in a decent story with unexpected twists and realistic ending, and carried out by talented actors such as Billy Bob Thornton, Morgan Freeman, Holly Hunter, Kirsten Dunst... They never let the viewers down in the sense that they know which roles to pick, wide fame and big paycheck are not top priority for them.

Levity is for you if you are not afraid of profundity and painful/serious issues, and if slower run is not equal to boredom.

Writer and director of Levity Ed Solomon isn't interested veering his piece down a route of generic expectation and crime infused frills. His film is about a former convict, whom has just served a long stretch in prison and is now out amidst society again, but is a film that isn't interested in placing him in amongst the world of crime again and instead is more preoccupied with bedding him down in a singular locale so he may attempt to find some sort of peace with himself because of his actions. Solomon illustrates the crux of the scenario by way of an interaction with another ex convict shortly after release as this man, of African American descent, asks our lead for his presence for a store robbery that might happen in a few days. The lead's turning this offer down is an interesting systematic rejection of both the job itself and, on a greater plain, the route the film might've veered down as an ex-convict searching for quick, easy work within the only field he seemingly could ever operate in. Where crime thrillers about criminals fresh out of prison but instantaneously leaping back onto the amoral bandwagon in a total disregarding of the rules aren't necessarily always terrible, Levity is more concerned with an oppositional approach to the premise and sees its lead seek forgiveness and personal solace. Like 1998 Irish film Night Train starring John Hurt, or films from recent years produced after Levity such as Adulthood or I've Loved You So Long, the film is more concerned with the confusion and interior pain of one's past that retains its presence than seeking new dangerous highs.

The lead is Billy Bob Thornton's Manuel Jordan; a man, incidentally, found guilty of perpetrating a store robbery many years ago and shooting dead a clerk in the process, all as a young man. His memories of that day are the only sequences or compositions of the entire film shot in a point of view perspective, enforcing immediacy and garnering all the necessary terror of placing the audience on the front line of such an event. When we begin with Jordan, he ventures against the grain in an underground subway tunnel as hordes of people flood the other way against the direction in which he walks, something Solomon revisits much later on when certain events have unfolded and, perhaps, feelings have been rectified. We get the feeling Jordan regrets what he did, and while there are barely any sequences of the guy in prison, having the newspaper clipping of the murder he committed staring him back in the face as a reminder of what he did, we feel, has certainly aided in changing him as a human being. Thornton does an admirable job in relaying these feelings, his character even informing us that redemption is not possible, suggesting a real sense of a persistently low moral.

Solomon's rejection of one particular route as stated in Jordan's turning away from a store robbery job is immediately placed in contrast with the other route it's possible for him to venture down, in that a seemingly random pay phone call from Morgan Freeman's preacher named Miles offers the alternate post-prison existence. Here, Jordan finds work at a local community centre as its car park vendor and occupies the small basement room for living; opting for a route that is apparently more open to spirituality, religion and holiness. Miles occupies a room on the first floor of this centre, a physical space that sees him quite literally on high above every one else, as this heavenly; God-like; Christian presence whose space nobody ever sees or enters. The centre is situated across the street from a night club which persistently hosts raves, the physical setting of either spaces across a street from one another complete with divide down the middle in the form of a road; a place which entertains youngsters apparently on a similarly unforgiving track to that of Jordan, a fast-talking and somewhat obnoxious young girl that mingles with this crowd named Sofia (Dunst) even comes to bond with Jordan.

Despite his earlier statement to do with never actually being able to find redemption nor indeed be redeemed, Jordan takes it upon himself to seek those related to the young man he shot; his clumsiness and buffoonery in trying to help the sister of said young boy (now in her middle age) instilling a sense of a harmlessness, almost childlike, persona about him. In milling around the community centre, the aforementioned youngsters Miles aids in attempting to steer down the correct path enter Jordan's life. Jordan is ridiculed when he attempts to speak to the kids, most of whom are rude; involved in criminal activity themselves and one of which is identified by his own mother as probably proud to have already been shot, stating that "it's like a game to him.....". Certain twists, turns and revelations in the film come to reveal that perhaps those initially seemingly ill suited to the role of mentor are, in fact, best suited and vice-versa for those apparently with the gift or role of saving. In a film in which nobody is quite as they seem and a real sense of respect for both the world and those that exist in within it lacking for those of a younger ilk, Jordan is our anchor; providing us with an effective character study around which people whom have not experience what he's gone through operate. According to the IMDb, Solomon's bizarre career has seemingly taken him from somewhat turgid writing credits for things like 1993's Super Mario Brothers and 2000's Charlie's Angels right the way through to getting a "thanks" on a wondrous little film from 2006 about a suicide bomber entitled Paradise Now. In Levity, he writes and directs astutely about a man regretting the past; with Levity, the author is astutely going about a similar phase of trying to make amends.

Thorton stars as a man who is free after serving 23 years for killing a teenager during an attempted robbery. After nearly two decades of staring at his victim's face on a newspaper clipping in his cell, the paroled man attempts to find redemption, in the form of a mysterious minister (Freeman) and two needy women (Dunst and Hunter).

I saw this film in the 99 cents store. I looked at the cast, which are great. I looked at the price, which was also great. And I read the plot in the back of the VHS, which got me to buy this film. It looked interesting. So there I watched the movie and I loved it! It's one of the best films ever made.

It was well crafted, beautifully cast, with a great script. I was moved and gripped. For me, this is Billy Bob Thornton's best performance, yet, although I haven't watched Monster's Ball, yet. His performance was superb, like everyone else in the cast, including Morgan Freeman, Holly Hunter, and Kirsten Dunst.

This film is subtle on everything. It keeps your attention and it is a good moral film. I never have much to say about great films, and it's no different here. If you see this film on the shelf, I suggest you to go buy it because it is your money's worth, although I bought it for 99 cents.

Manny (B.B. Thornton) is released from prison after a long stretch, over twenty years. co-stars Morgan Freeman, Holly Hunter, Kirsten Dunst. a payphone that Manny keeps answering out in the middle of no-where. and people keep mistaking him for someone else. Freeman is Evans, who seems to run a mission slash parking lot, in a rough hood. and when Adele's son gets shot, Manny sits with her and tries to help her out. but the son wants revenge on his shooter... and Manny is more involved than anyone knows. he's already told the viewers that he knows he can never be redeemed... what's a guy to do? deep stuff. written and directed by Ed Solomon. the third film he has directed. pretty serious stuff. it's a good, solid film, the name of this film is levity... but i must have missed it. or is it irony?

"Levity" (2003 release; 101 min.) brings the story of Manual Jordan. As the movie opens, Jordan is attending a parole hearing, 20+ years after he brutally killed a 17 yr. old boy. Much to his (and our) surprise, he is released. He returns to the city where it all happened, and by happenstance strikes up a relationship with the preacher of a community center, where he gets free room in return for doing custodian work. Then one day, Jordan runs into the now 40-ish yr old. sister of the 17 yr. old boy he killed... At this point we are 15 min, into the movie.

Couple of comments: this movie is the labor of love from writer Ed Solomon ("Bill & Ted's Excellent Adventure", "Super Mario Bros.", "Now You See Me", etc.). Solomon also directs (the only movie he ever directed). The story of a convicted murderer seeking redemption is as old as the street itself, so the question is whether this movie brings a different angle or new perspective. I'm afraid the answer is a clear no. In fact, it's worse than that. The movie takes itself oh-so-serious, without any palpable or compelling reason. And it's not for a lack of trying from the all-star case. Billy Bob Thornton is Jordan. Morgan Freeman is the community center preacher. Holly Hunter is the murdered boy's sister. Worst of all, Kirsten Dunst plays a troubled youth who is completely full of herself, and then some. Just insufferable. I wish I could be more positive about his film, but alas, I can't. Bottom line is that at no point in time I felt emotionally invested in any of the characters, and hence at no point in time did I care for this movie one way or another.

I missed "Levity" when it came out in theaters in 2003, and frankly had never heard of it when I saw on HDNet TV's schedule the other day. Based strictly on the all-star cast attached to this film, I decided to watch it. I shouldn't have. No wonder Solomon never directed another film after this. Of course you shouldn't take my word for is, and hence I'd suggest you check it out, and draw your own conclusion.

Greetings again from the darkness. Simple story made interesting by the characters and environment. Billy Bob Thornton is our unconventional lead character. Very understated performance accurately captures the emotions of this repulsed, repentant killer. Sparkling Kirsten Dunst is unusually gritty in her sad portrayal of the pop star daughter putting up a false front. Morgan Freeman is effective as the community "reverend" with a secret. Best performance comes from Holly Hunter as frustrated mom/sister just trying to make sense of her world. Director Ed Solomon, known mostly for light weight writing, does a respectable job of capturing the pain of all the characters. Bleak world where each individual must furnish their own reason to keep going.

Manual Jordan (Billy Bob Thornton) is happy to be in prison until he's forced out when his life sentence is commuted. He was imprison for the murder of Abner Easley when 23 years ago during a convenience store robbery. He returns to seek redemption which he knows he can't have. Preacher Miles Evans (Morgan Freeman) gets him to watch the parking lot. It's a rundown place with a nightclub and liquor stores as neighbors. He befriends hard-partying lost girl Sofia Mellinger (Kirsten Dunst) and Abner Easley's sister Adele (Holly Hunter).

There is no levity here. It is a slow prodding meandering slough. Billy Bob delivers a deliberately flat performance. Kirsten Dunst's character has some potential but Holly Hunter isn't compelling. There is little tension. It may work better to have the two characters merge and let Kirsten Dunst be the sister. It's a long mediation which may have some deep meaning but it's a grind to get there.

This first time director, Ed Solomon, makes an incredible change over from writing films for the masses, by writing and directing this introspective and moody look into the troubled souls of the fallen. I just caught up to it on cable. At any rate, it was well worth watching. This is an Indie that makes a statement without punching us in the head with it.

Manuel, the lifer that is released at the beginning of the film, ends up looking for a connection with the family of the convenient store clerk he shot and killed during his wild youth. Now, Manuel is older and wiser and knows that he has been spared from the mean streets. It doesn't seem logical for him to do so, but in a way, is his way to express his sorrow at the horror he caused by being reckless.

The encounter with Adele, and her acceptance of this odd man is a bit hard to understand. This woman reacts with caution at first, but realizes Manuel is harmless; thus begins the friendship between them, without a hint of the actual identity of Manuel.

The thing that didn't make sense is the presence of Sofia, a child of privilege in the seedy club that is near the soup kitchen that Miles, another mysterious character runs. Once we overcome those hurdles, it is easy to see where the director is taking us.

Billy Bob Thornton plays Manuel as a man on auto pilot. The world he encounters when he is released is a world so different from what he knew. Mr. Thornton gives another phenomenal performance. Holly Hunter makes an understated Adele. She approaches the character with an economy that is amazing, yet we know at all times what this woman is feeling.

Although Sofia, the young woman appears to be confused and out of place, Kirsten Dunst is quite effective as she plays her. The only one that does not convince us is Miles, perhaps because of Morgan Freeman's approach to this man. Dorian Harewood has a small, but intense moment in the story.

I can well understand why this misses the mark for so many people. A lack of the dramatics, no "twist" like "The Life of David Gale," retro dialog almost and Kirsten Dunst at her most irritating.

What you have is Billy Bob on another 'one man's redemption' kick, that he does just so well. The film is in the dialog, the gestures, the mannerisms. Holly Hunter's self deprecating comment early in the film when she admits to Billy Bob her expectation of the standards of her sexual partners had been lowered over the years , was one of cinemas greatest ever lines. (You'll know it when you hear it)

Freeman's flaky preacher is a stand-out despite variations to his voice modulation. Again, it all depends what you are expecting out of this film. best you expect nothing my friend - just let it unravel. It is both thought-provoking and emotionally strident.

I enjoyed it very much and would consider a rating of 8 reasonable.

One of the greatest problems in Hollywood today is the misperception that for a movie to be a winner, you need gunfights, women in tight clothes, sexual innuendoes, and few dozen explosions. Levity has none of these, and it shines.

Billy Bob Thornton play Emmanuel Jordan, a man released from prison for killing a convenience store clerk. Jordan appears genuinely humbled by his experience, a man deeply in need of redemption: his eyes are sunken, his hair grown long, and one cannot help but think that all he needs to complete the look is a sackcloth and ashes on his forehead. Too many ex-convicts in films are leering madman, already planning their next caper. Even the character's name speaks of a spiritual role: Jordan means, "Descending"; Emmanuel means, "God is with us".

Pulled from the street by Miles Evans (Morgan Freeman), a tired preacher running a mission, Jordan begins his duties as a custodian, working with quiet efficiency. He also begins working on his redemption, following the steps laid out in a medieval manuscript. One of the steps involves giving back to the ones you've hurt. He seeks out Adele Easley, the sister of the teenager he killed and begins adding to her life. She is a single mother, struggling to correct the life of her son, whom she has named Abner, after her dead brother. Jordan also finds time to work with Sofia Mellinger (Kirsten Dunst), a teenager who seems to be self-destructing in front of his very eyes.

It's been said that when one takes a life, you remain one step removed from the rest of the humanity. That is the way Jordan looks and moves. Early in the film he is standing in an underground passage, and everyone else is moving around him. His eyes--which look convincingly haunted--stare at the jostling crowds with a numbness that leaves you chilled. Though the troubled youths he works with mock his sallow face, they themselves are living close to death themselves (gunshots and drive-bys riddle their conversations) but are unaware of its power or consequences. Jordan, sadder and wiser, struggles to make them aware the fragility of their lives; like the prophet he is named after, he has much wisdom to offer, but knows not how to give voice to it.

One of the great messages of this film is that appearances are deceiving. Sofia seems to be the happy-go-lucky teenager, but Jordan learns she is living in a soon-to-be foreclosed house, and has virtually nothing to her name. Adele, though beautiful, has more demons than her dead brother. Even Preacher Miles is hiding a wounded soul, and his final secret leaves you stunned. The cityscape itself (Montreal, Canada) seems shiny, but their is a cold texture beneath which deals mercilessly with its inhabitants.

Levity is a keeper, and should be seen by all. Like its message, the quiet cast hides much beneath its quiet exterior.

the most, but I think it is in the script and the painfully slow pacing. Somebody seemed to have put in too much input into what might have originally been a decent idea, though not thoroughly reasoned out, and thus not too believable. How do you work past the idea that the character Holly Hunter plays, never went to the trial of her brother's killer, or saw his face in the newspaper, or a line-up or what in two decades, and we believe it? That makes the movie too stupid to watch for long. Wonder who's idea it was to ignore this simple but obvious little detail, and not explain it as I remember. Maybe I missed it. No understanding of character development went on here, thus it was just an insulting, thoroughly ridiculous film. Maybe these folks need to find real writers instead of whatever process they chose. It ain't working! What a waste of Billy Bob Thornton too. Slingblade must be thrashing around in his jail cell, or grave about now. They should have asked Thornton to take a look at the script. He is certainly more qualified than whoever did. And what was with Morgan Freeman's ever changing voice effect? Ultimately it is the producer's job to know what they are producing, so really, the buck stops there. I've got a bridge in London for those investors! Proof positive that star power, does not a good film make. Hope they figure it out, quick, or spare us another one.

This was simply a very good movie. It was moving, emotive, and most important to me, *real.* I usually don't like "artsy" movies with their "special" characters, so much deeper than the rest of us, punctuated by some truly bizarre behaviour. This movie was not like that. Jordan is no hero. He's not smarter than the rest of us, nor is he "deeper." He is just an ordinary person who has made a horrible mistake and has become obsessed with finding forgiveness for his mistake. And there is no Hollywood ending here. He is not granted this forgiveness at the end. (That part was so real.) What he does find is an acceptance. "Yes, we want you to live and can accept that, but, no, don't ever try to see us again."

This is what I enjoyed about the movie, that most of the characters could engage me so much, and yet be totally believable in their reactions. (The one exception was the Kirsten Dunst character. I've known people like this and believe me, they don't turn around as easily as she did.) A much better reaction (and humourous too) was the way the neighbourhood kids solved their money problem in the end - so different from what Morgan Freeman/minister had done, and so real for these character types.

Which brings me to one final thing: the Morgan Freeman character. Call me old-fashioned but I love it when the author throws in enough foreshadowing to make a "surprise" at the end believable. Freeman's character (even his voice) gives you enough clues throughout, that this guy is no minister.

Anyway, you'll enjoy the movie if you're not into the "rock 'em, sock 'em" Hollywood action style, or not into interpreting overly bizarre behaviour as "art." This movie falls somewhere in between these 2 extremes and is "just right."

• Jack

An Ed Solomon film starring Billy Bob Thornton, Morgan Freeman, Holly Hunter and Kirsten Dunst. This is a very personal film by the writer of Bill & Ted's Excellent Adventure and Men in Black. Too slow-moving for mainstream acceptance, this is nevertheless a movie of depth and compassion. It grapples with the issue of redemption, and leaves the audience with uncertainty that is nonetheless remarkably calming-hope without moralism. Thornton was . Thornton. He has the range of a tetherball. I don't think Morgan Freeman is at his best in this film. And we don't see enough of Holly Hunter to appreciate her. The film had some very funny moments, but I can't think of a less appropriate title. Having said all that, this movie is worth the trip because it is thought-provoking, subtle and oddly inspiring.

Sorry, Noel - the reason "why this misses the mark for so many people" isn't any of the clever reasons you give - it's because, quite simply, the film is unadulterated crap. A waste of some of the finest talents Hollywood has to offer. And a waste of the evening I spent watching it when I hired it out on DVD, misled by comments like yours that I would find more in it that met the eye of the mainstream media reviewers who originally gave it the thumbs down. The film tries to be very clever by concealing from you what is really going on, and does this so well (or badly, depending on your perspective) that you are well into it before you realise that, in fact, nothing is going on at all.

I went up to Sundance and caught this film, and I absolutely loved it. Beautifully and thoughtfully written by Ed Solomon, this movie offers some of the best performances you will see in 2003. Holly Hunter is (once again) amazing. Morgan Freeman rocks! And> Billy Bob is a fascinating study in the power of stillness. (Less can absolutely be more!) Shot by one of the greatest living cinematographers (Roger Deakins), this is a film that successfully walks the line between reality and a dream-like state (for the main character and the audience). Ed Solomon is normally known for his big action comedies (Bill and Ted, Men In Black) and I love that he had this story in him- a film that is both complex and reserved in it's telling. I notice some have criticized the title "Levity." However, I have to say love the title. While it may not spoon feed the audience with a description of the events in the story, it speaks of what is missing. And it is what is missing that is central to the characters' individual journeys. This is a story about searching (internally and externally) for forgiveness, joy, and levity. I found it a> challenging story as well a challenging title.

What's the message? This is obviously and obtrusively a message film. Apparently, we're amoral, so we should learn something here. What have we learned? Perhaps, to forgive, especially one's self, or to not judge a book by its cover, or not to judge it after we've read it and discovered it has robbed us. I feel robbed, but not forgiving of the robber. Ed Solomon should return to writing stupid screenplays instead of trying to hoodwink me with a "serious" film, as though I needed a lesson, or reinforcement.

There's nothing cinematic here. Solomon could have saved me some time and patience if he'd written the parable in verse of a few lines. Surely would have been more interesting. Billy Bob Thornton, Morgan Freeman and Holly Hunter are no strangers to acting out a parable. I don't know what Kirsten Dunst is doing here, but she might want to stay with playing ditzy teenagers in intentionally ditzy movies. Thornton is the master of externally displaying how empty his character is. If anyone involved knew how empty the movie is, we might have had something. Instead, we get social commentary, unbelievable coincidences, and even some pseudo-spirituality.

"Levity" (2003) Artfully melancholic. Real, perhaps even surreal as this story quietly, yet gracefully plumbs the depths between reality & perception, introspection, fate and (mis)fortune. Heart-wrenching in its sincerity.

The story revolves about a man freed from concrete walls and bars, but not of his conscious. What follows is a remarkable journey into the thought and life of a man seeking redemption. As his journey begins, he encounters the beginnings of a new life. Laid bare & unpretentious, the mood is set within the confines of what one may encounter upon re-entering society. The cinematography is excellent, appropriate and chillingly in-line with the theme of this movie. Top-notch actors in supporting roles make this film a "must see". This is, a great film.

I was fortunate enough to have been invited by a friend to preview this film at a press screening. Included in the press kit given to me at the screening was background information about the film which enhanced my viewing experience. What I found intriguing was the fact that the film was inspired by such a compelling personal experience. While attending UCLA (Writer-Director) Ed Solomon was tutoring a teenager in a maximum security juvenile prison. One of his students was a boy serving a life sentence for murder who carried around a photo of his victim, often holding and touching it. This experience was the catalyst for "LEVITY".

Written and directed by Ed Solomon who is best known for writing such comedies as "Bill & Ted's Excellent Adventures" and "Men in Black". This is an impressive directing debut.

The film stars Billy Bob Thornton, Morgan Freeman, Kirsten Dunst and Holly Hunter. This is a story of an ex con (Thornton) who is unexpectedly released early from prison for killing a teenager during an attempted robbery. He tries to find some kind of personal redemption with the help of minister (Freeman) and two woman (Hunter) and (Dunst).

I was immersed in the story almost immediately. The interaction between Freeman and Dunst is dynamic and authentic. The cast is exceptional and the perfomances outstanding. I found this film to be not only insightful,inspiring and thought provoking but it also had several FUNNY moments.

It is shot by four time Oscar nominated Director of Photography Roger Deakins who added pleasing imagery. Worth mentioning is the music of Mark Oliver Everett.

This film leaves a lasting impression and I found myself reflecting on it a few days after I saw it. I highly recommend this film and plan on seeing it again in April when it opens.