I actually really enjoyed this movie- the all star cast really pulled it off - Yes the story and characters were twisted but lets face it - what in reality (esp nowadays) is not twisted? America should embrace real films like this as the American dream gives way to the exposure of reality. Dont live in Disneyland. Having said that - a profound movie is like a thought provoking essay - with an emphasis on THOUGHTS - it requires a certain level of intellect to appreciate.

This week I watched The Paperboy (2012). I should have read reviews or watched the trailer prior to do doing so. I was going off the artwork thinking that this would be a light hearted dramedy romance, but instead I ended up watching a Crime-Drama-Horror. Even the logline is tame compared to the actual content of the film. It reads "A reporter returns to his Florida home-town to investigate a case involving a death row inmate." That should have been a warning, but even so I don't think I was mentally prepared for the Tarantinoesque aesthitic and emotional-shock and trauma which would ensue. I literally had nightmares the night following this viewing, so if gore, rape, porn and violence aren't your thing either- well you've been warned. This film left me feeling grossed out and emotionally angry. I feel like these kinds of directors push the limits a little too hard and then mask it with "I'm telling reality." *Eye roll.* The story did have good writing value and as a storyteller I see where the "formula" was created with the forbidden love triangle, dramatic secrets and the interesting circumstances. The writing was good and I can see where this script was recognized for its film value. The story did a great job maintaining believable consistency from the beginning of the film to the end of the film. The actor featured many A-listers with Matthew McConaughey, Zac Efron, and Nicole Kidman and John Cusack and naturally they all did a phenomenal job. I found it particularly interesting that they all adopted a very southernesque appearance and sound. I forgot I was watching a film. The production values were all on point as well. Knowing what I do about the script I can't 100% blame my dislike of this film on the director. I did find some of the shot-styles and extreme closeups to be a little strange, but they pulled off their intended effects. You could also determine if you want to see this film by just looking at the numbers. Millennium films spent $12.5 million on this movie and only made back $692, 640. I would definitely not ever watch this film again, but if you are a Tarantino fan then bon appetit.

Rural Florida in the late 1960's. Idealistic reporter Ward Jansen (a fine portrayal by Matthew McCanaughey), his more cynical partner Yardley Acheman (well played to the obnoxiously uptight hilt by David Oyelowo), Ward's wide-eyed innocent younger brother Jack (a solid and likable performance by Zac Effron), and slutty death row groupie Charlotte Bless (a marvelously tart turn by Nicole Kidman) discover that odious convicted killer Hillary Von Wetter (a splendidly slimy John Cusack) was framed for the murder of a corrupt sheriff.Director Lee Daniels, who also co-wrote the bold and pulpy script with Peter Dexter, offers a flavorsome warts and all evocation of the deep south setting in which bigotry and oppression still reign supreme, ably crafts a pleasing trashy tone, grounds the premise in a plausibly sordid everyday reality, and relates the engrossing story at a steady pace. Moreover, the colorful array of enjoyably quirky characters, sweaty'n'seamy downhome atmosphere, and frank addressing of such tough issues as racism, homosexuality, and the toxic perils of worshipping criminals all give this film an extra tangy and potent kick. The uniformly excellent acting by the bang-up cast keeps this movie humming: Efron proves that he's more than just a pretty face, Kidman has a ball with her brash hillbilly trollop role, and McCanaughey does his usual sturdy work, plus there are ace supporting contributions from Macy Gay as sassy maid Anita, Scott Glenn as crusty patriarch W.W. Jansen, and Ned Bellamy as fearsome no-count hood Tyree. Roberto Schaefer's sharp widescreen cinematography offers several snazzy stylistic flourishes. The grim ending packs a devastating punch. An edgy and intriguing little beaut.

The film is visually appealing, most of it anyways. The cast is--or at least should be--great. It's not like there's anything wrong with anyone's performance, it's just the script doesn't allow for them to be great. It's evident The Paperboy is adapted from a novel. The film starts out at a nice pace and then seems to flip through a bunch of pages, that were perhaps covering some background on the characters, setting, etc. It then catches its breath, but just for moment, before jumping forward again. It then seems to skip an entire chapter or two, giving a critical juncture about 3 seconds of screen time.Peter Dexter (author) and Lee Daniels (director) share the screenplay writing credit. Sometimes the originals authors are the worst choice to adapt their work. Who knows, but Daniels as writer and director is the only one to blame for this mess.The end result is a disconnected shambles, a wasted opportunity of what could have been a great film.