Let me start by saying I have nothing against the actors in this movie, I'm sure they tried really hard, nor do I have a problem with the overall premise of the film. I do, however take offense to the writing. I mean, the female lead gets so traumatized after realizing that Captain Highway Guy (I think that was his name) sometimes has to mercy kill dogs that she cried in a corner, left him, and got a job in another town... Keep in mind, it was not her dog, she did not actually witness the shooting, and the dog was suffering. A normal functioning human would be able to shake the bummed out feeling off after such an experience. I'm convinced this writer is not a human and has never met one. The dialogue is forced and awkward. The scene where he meets the old man who owned his parrot as a child is cringe worthy. Is the old man supposed to be mentally handicapped or is it bad writing/acting? The climax comes when our titular Highway Hero is forced to prove his love of dogs by sacrificing himself for his love's pet and gets hit by a car... that's just... it just is, I don't even know. She then kidnaps him from the hospital while he's drugged and hauls him along on her journey to her family's house, roll credits. I am convinced this was written by a skin walking alien who was tasked with making a film about the so called Hoo-mans to be viewed at the space zoo's Earth exhibit.

I just can't say enough about this great little indie jewel. All the actors shine, the production values are superb and the normal compressions and compromises inherent in bringing a sparkling novel to the screen have been thoughtfully and artfully chosen. Sure, all we jaded film fans have seen it before, just not always this heartfelt and fun. This film left me wanting more, in the good way.I highly recommend this for those who want to share a moving experience with someone special. Even better share this with someone you want to become special.This film is virtually bereft of objectionable content. Younger children may become invested in characters that suffer the vicissitudes of temporal existence. There are some suggestive situations. Parents may want to preview the movie before sharing it with the family. That said, a very rewarding film. Highly recommended!

I seen your film in Gainesville, Georgia, through the Arts Council, before it made its premier. I thought it was a wonderful film. The story and characters were very believable. The range of emotions caught me by surprise, I realized that I was drawn into this endearing film. You feel the happiness, sadness, shock, loss, and amazement. It was thoroughly enjoyable. You learned the characters depth as the film progressed. The film presented itself on par with high budget films, very professional. The ending was a surprise and welcomed. I can hardly wait to buy it, I feel it is something I could watch many times over. Congratulations on a great film and wish you all the success for your hard work.

Character actress turned filmmaker Margaret Whitton demonstrates real directorial savvy with A BIRD OF THE AIR, an appealing dramedy adapted by Roger Towne ("The Natural") from Joe Coomer's 1992 novel THE LOOP. Indie production may be low-profile amongst the high-concept Hollywood product out there, but is a highly recommended movie.Originally optioned by Oprah and later acquired by Matthew McConaughey as a vehicle for himself and post-SAHARA (but pre-Oscar) Penelope Cruz, Whitton's eventual version benefits from casting unknown leads.Jackson Hurst toplines as Lyman, a handsome introvert with zero social skills, whose job is cleaning up the interstate in rural New Mexico by night, aiding stranded or injured motorists. A beautiful, flighty young librarian Fiona (winningly personified by Rachel Nichols) sets her romantic sights on Lyman, and a decidedly unconventional bond develops between the mismatched pair.A couple of non-human characters balance and amplify the drama, as a parrot mysteriously flies into Lyman's trailer home one day, an aged, lost soul like our orphan hero. Fiona's basset hound is the other leading player, at first downright hostile to Lyman, but later helping to break down his protective shell.Much of the narrative revolves around Lyman's quest to track down the previous owners of the parrot, while Fiona researches Lyman's own shady background. Director Whitton has cleverly distorted the voices of those owners to provide a voice for the humorously loquacious bird, whose pronouncements hint at the film's underlying themes.Brief but telling character turns are provided by the succession of owners, all sympathetically acted by a diverse group of talents including Buck Henry, Judith Ivey and Phyllis Sommerville. Film buffs will also note a welcome (albeit fleeting) return to the screen by Anjanette Comer as Buck's wife. Also forceful in support is Linda Emond as a diner waitress who mothers Lyman and narrates the picture.Flavorful but not showy lensing by Oscar-winner Philippe Rousselot is a plus, and the film remains offbeat without succumbing to the cutesy clichés that tempt so many indie efforts of late. Hurst is disarming as the central hunk, acting in a style reminiscent of early Harrison Ford (before he started taking himself a bit too seriously) and Nichols, in quite a turnabout after co-starring opposite CONAN THE BARBARIAN, is a radiant heroine.