Wow!!! I just watched this amazing little gen of a movie on Amazon, and I really hope more people get a chance to see it soon! Well worth it if you do! The ensemble cast is truly something special: starting with rising star Emory Cohen (Brooklyn, The OA) and the always incredible John Leguizamo (Carlito's Way, Moulin Rouge, Bloodline). William H. Macy (Fargo, Shameless) and Felicity Huffman (Transamerica, American Crime), who are real life husband and wife, play the parents in the movie, which I thought was super cool and authentic. The supporting cast features the stunning and believable Heather Lind (Turn) and the very talented Paul Sparks (Mud, and both also from Boardwalk Empire), along with quick-witted funnyman Mike Epps (The Hangover, Next Friday) in a pleasantly surprising, more "serious," but still charming, role. The "younger" cast members are all excellent too (including Grace Van Patten, Al Calderon, Jeff Lima and Leopold Manswell, all of whom are expertly cast)! The story revolves around a teenager, Billy Wyatt (played by Emory Cohen), who is thrust into what turns out to be a Shawshank-type correctional facility for wayward youths. I don't want to give away any spoilers, but suffice it to say the story is inspired by true events and is very gripping and moving from start to finish. The performances are stellar, the cinematography is intimate, and the writers and director really tell an interesting, engaging, thought-provoking and heartfelt story! Highly recommended!

--- The movie is well worth watching. I am simply explaining what bothered me and how it could have been made better in my opinion. --- I like continuity in movies and also a sense of closure. Nothing makes me lose feeling for a movie, that makes me loose that feeling of the suspension of reality that I need than a lack of closure and that is where I think this movie lost points in my opinion. Even so it was still a good 6/10, but it could have been a 7. --- They spend a good deal of time developing certain characters in the movie, the weak but sensitive boy, the strong and silent "Poeta" boy, and to a lesser degree the leaders of the white gang and the leader of the black gang. However the movie spins off to the ending and never gives us any closure on what happens to these characters. Even with Billy we only sort of get a idea of his over coming his issues as he steals yet another car and rushes a friend to the hospital. But that's it, exit stage right? I want to know what happened to the weak kid that was dropped at the hospital and the "Poeta". Time was spent building their characters just to drop them suddenly. Not an efficient use of screen time in my opinion. In the end we see what appears to be a prison riot kick off, the most violent guard turn into a cream puff and the weak kid dropped at a hospital, but that's it. The movie ends and we never hear if the weak kid lived or the riot was quelled, or the violent guard and the "warden" get what should be coming to them.

Some sluggish direction and pacing rob Stealing Cars of being a really great film about juvenile crime and incarceration. Stealing Cars is in a tradition of films like this that go back to James Cagney's Mayor In Hell.Emory Cohen is our brilliant protagonist in the sense of one high IQ. Yet he's in the Bernwood Correctional Facility for a tragic mistake that has made him forgot to care about anything. His role model seems to be Paul Newman from Cool Hand Luke.Besides Cohen the acting honors go to John Leguizamo as the warden of the place. Is scene with Cohen where Cohen finally breaks down and we learn the reason for his cynicism is brilliant. But we also learn that Leguizamo has his own agenda and it's not a healthy one.I'm agreeing with another reviewer that the characters besides these two have no real depth as written and no great direction to make them come to life. Still Stealings Cars is a worthwhile film to watch.

Winner of the new Zeitgeist Award at the L.A. Film Festival, Stealing Cars feels like if Starred Up wanted to be Cool Hand Luke featuring Antoine-Olivier Pilon from Mommy. Both Stealing Cars and Mommy think their lead is hilarious, tragic and charming, and many of the latter's fans agree, but I found Pilon unbearable. Not to reel Xavier Dolan's film into this criticism, but both these films hinge on their protagonists. Swap Pilon for Emory Cohen for Stealing Cars and it's a very quick reminder why most consider The Place Beyond The Pines troublesome in its third act. I'm concerned that Cohen may be too good at playing an irritating young criminal. I just like seeing him get punched.The film opens with a clear homage to Cool Hand. Emory Cohen's Billy steals a car, and the next scene we're in a Burnville Camp For Boys, an analogy for life's hardships. The film details his relationships with his fellow inmates, the guards, various staff, warden, police, a female nurse at the facility, and his parents in any jumbled order that resembles a plot towards his potential rehabilitation. He makes enemies, earns sympathies, leads teams, impresses at the least likely times, and so on. It's a script that's been gestating since the mid-90s and it's hard to ignore that it may have grown too kind to its protagonist. Billy mouths off to every authority figure and escapes three times without serious repercussions.Set aside its clumsy character study and Stealing Cars does have good intentions in its portrayal of problematic detention facilities. Punishment only breeds deeper resentment and a desire to escape. It'd hit harder if its logic was as gritty as its style, though it's not quite as rough as Starred Up. In one scene, Billy has memorized an entire passage of Fahrenheit 451 because of his photographic memory, and while characters are just as surprised as us, it feels like a step into the extraordinary that's just tacked on. The warden makes cleaning his car a dream job for the inmates, as if that's not asking for trouble. He's then also astonished Billy knows Johnny Cash. Fortunately, these unconvincing examples are executed with such earnestness by director Bradley Kaplan that it doesn't toe the line into nausea, and instead establishes this as merely the tone of the film.It's assisted by a set of familiar faces in the supporting adult cast. Paul Sparks is barely recognizable compared to his sniggering Boardwalk Empire role and a bright spark in the film as a drill sergeant-esque guard. William H. Macy shows his face briefly as Billy's father and adds his screen presence to the film's production value. Felicity Huffman has an emotional one-scene wonder as his mother that absolutely begs for more time with her character. Mike Epps also shines in his brief screen time. John Leguizamo is solid, but suffers the most from the aforementioned flaws in the writing. It's hard to deny that Emory Cohen has the confidence for this role and his charisma isn't necessarily misguided, he does contribute to the spirit of the film, it's perhaps just a matter of taste. Stealing Cars probably wasn't the wisest choice for L.A. Film Festival's award, but I'm sure there were worse on the slate.6/10Read more @ The Awards Circuit (http://www.awardscircuit.com/)