After viewing this, I was surprised to see on the DVD box that it had won some glowing blurbs and prizes at various festivals.The script was OK, the situations potentially involving. But the unfocused, often amateurish, performances and occasional jarring attempts at comedy repeatedly broke the reality and brought to mind that old maxim, "There are no bad actors, only bad directors." The performances were mainly incoherent, unnatural. Director Georgia Lee seemed unable to help her actors communicate any steady undercurrent of withheld feelings, in a story that was largely about such. Key characters, mostly men, passed across the screen as unknowable entities.I watched Red Doors convinced that most of the leads were capable of much better work, even though I'd only seen one, Tzi Ma, in anything else. Glowingly beautiful Mia Riverton, playing an actress, was hammy and false, killing any chemistry in her romantic scenes.Secondary characters were worse. As the oldest Wong sister, Sam, Jacqueline Kim had the largest part and gave the most coherent, recognizably human performance. But the acting of the men playing her love interests was awful. Her old crush, a whispery-voiced high-school music teacher--an intended dreamboat--was wretchedly portrayed by a kid with suspiciously plucked eyebrows who looked about half her age and didn't sing well.Extra points off for being set in and around New York City, ostensibly, yet establishing no NYC ambiance or locales.So directing movies, it turns out, is like conducting a symphony, or performing rap, or brain surgery--it only takes one bad practitioner to prove that skill makes a difference.

You could say a film proves itself by whether you give it a second thought. Another proof is how the film plays on second viewing. "Red Doors" plays very well on first viewing and lodges itself in your memory. On second viewing, it inspires awe.This film does not give up its secrets in bursts of action or plot-twists. Its strengths are symphonic, and it builds to a conclusion that will remain in your thoughts for a long time afterward. I especially appreciate the way it leaves its audience; "Red Doors" honors its viewers without ever pandering to them.Everything about the film seems natural and easygoing until you see things that leave you wondering: How did they know? Ordinary things--the angle of a girl's hair, a home-video montage--grab you by the throat. The music craftily draws the viewer into the situations without ever drawing attention to itself. The performances, without obvious star-turns, have a cumulative impact that's just overwhelming. To see "Red Doors" is to form an attachment to it. To see it again is to immerse yourself and love it.

Other than the problematic portrayals of Asian-Americans in terms of the lack of authenticity, this movie is also problematic in terms of pacing and story content. There's plenty of discussions elsewhere on the internet on what this indie film means to us Asian-Americans in terms of the lack of male representation and false depictions of Asian-American family life. With all that said, this movie is also problematic in terms of pacing and story content.What this movie desperately needs is a complete revamp of the script even before production began. The story seems very contrived and artificial. For an indie movie like this, the story is the only thing that makes or breaks its acceptance by the targeted demographic. What this movie lacks is focus and clarity. It meanders all over the place without a focus on any character that tells a concrete story. It's loosely constructed to tell a family story, but instead ends up arbitrary characters that are rather cliché and story plotting that seems forced rather than natural character developments. The tacked on "happy ending" didn't seem natural or deserved by the story plot and character motivations.It's like that bad joke about Chinese food leaving you hungry again after an hour; while this movie seems to have interesting subplots and characters, but at the end you realize what a phoney story it is. It's not simply there are mostly Asian-American females, but as an Asian-American if I can't identify with any of the characters then I think this story isn't really serving any purpose except like chop-suey it fools the mainstream audience to believe what Asian-Americans are about.

I really appreciated the slow, deliberate, and organic way this movie unfolds. The film is nearly plot less in the best way possible; it is a movie about people simply existing within their world, and writer/director Georgia Lee wisely eschews the temptation to up the ante or artificially increase the dramatic conflict beyond what is absolutely necessary. There are no villains here, just people trying to exist and navigate their way through their relationships with one another.Everyone in this film -- from the three sisters (Jacqueline Kim, Elaine Kao, and Kathy Shao-Lin Lee) to the depressed father (Tzi Ma) to even the high school prankster (Sebastian Stan) and the overbearing mother (Freda Foh Shen) -- are fully fleshed out characters who transcend their respective "types" (aloof father, overbearing mother, responsible older sister, etc.) Only Sam Wong's distracted fiancé (Jayce Bartok) comes close to caricature, but his quiet interactions with Sam are always believable and never forced. The script is delicately and subtly written, and Lee manages to find a gentle humor in even the more potentially dark situations.It's nice to see such a quiet and subtly realized movie today, when even smaller character dramas have a tendency to resort to melodrama or artificially "quirky" characters to make their impact. This film definitely feels like Ang Lee at his "Ice Storm" and "Brokeback Mountain" best, but it has a lightness of touch that Lee himself hasn't had since "The Wedding Banquet" over a decade ago.This is both a film and a filmmaker that deserve to be discovered.