LYCOS RETRIEVER
Mean Creek: Feelings
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Providing the underscore to Mean Creek is Tomandandy. Comprised of Tom Hajdu and Andy Milburn, this duo has previously scored such films as The Mothman Chronicles and Rules of Attraction. Primarily providing contemporary scores with electronic elements, their take on Mean Creek led them to a simple yet emotionally effective score with a cello as a central element.
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Billed as "like an adolescent Heart Of Darkness", Mean Creek is too modest a film to live up to such ambition. Instead it's a well-crafted, well-acted, but over-earnest investigation of bullying set against a picturesque river trip backdrop.
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Despite the festival accolades, Mean Creek brings with its Australian release (it won the Humanitas Award at 2004's Sundance), Mean Creek isn't 'all that'. You get the feeling you've seen it all before, only better somewhere else. The four aforementioned films - which really set the benchmark for the teen drama genre - are so much better by comparison.
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VIDEO: "Mean Creek" is presented by Paramount in 1.85:1 anamorphic widescreen. The picture quality is excellent in some ways, and just a tiny bit lacking in others. Sharpness and detail are terrific, as the picture seemed consistently crisp and well-defined. Although some wider shots appeared sharp and nicely detailed, many close-ups looked impressive, with great small object detail.
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Mean Creek is poised at the magic hour of the death of innocence. The film represents in its existence and function a transitional vehicle between the end of life and rebirth. In Mean Creek, a slug crawls across cold flesh in a quiet, crepuscular moment; a snail (similar/different) is punished an instant later by a clear-eyed little girl, completing her exile from Paradise in a stroke remarkably brutal not necessarily for the act, but for the freshness of the stain on the perpetrator. The picture's title refers not to malevolence, but to a nature metaphor that works as the centre-point--the protean "mean"--between two extremes. It is that ever-tilting line that marks childhood's end: mercurial, sure, yet as substantial and rude as a brick wall.
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