Canada, United Kingdom · 2011
Rated R · 1h 32m
Director Gaby Dellal
Starring Thomas Dekker, Elizabeth McGovern, Mira Sorvino, Jeremy Piven
Genre Drama
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The small working-class town of Angels Crest is a tight-knit community resting quietly in one of the vast and stunningly beautiful valleys of the Rocky Mountains. Ethan, one of the town's residents, is a young father but not much more than a kid himself. He has no choice but to look after his three-year-old son Nate, since mom Cindy is an alcoholic. But one snowy day, Ethan's good intentions are thwarted by a moment of thoughtlessness, resulting in tragedy. A local prosecutor haunted by his past goes after Ethan, and the ensuing confusion and casting of blame begins to tear the town apart.
Director Gaby Dellal gets respectable performances all around, especially from Dekker as the hapless, grief-stricken father, but they can't elevate Angels Crest, beyond its one obvious and depressing note: It is very sad when a small child dies.
Los Angeles Times by Gary Goldstein
Depressing and airless.
Slant Magazine by Glenn Heath Jr.
Angels Crest opens with the laughter of children at play, but that's the only hint of happiness you'll find in this unflinchingly manipulative and pointless morality play.
New York Daily News by Joe Neumaier
It's the same movie town we've seen many times before, with dingy mechanic's shops, barren parking lots and a greasy-spoon diner where all the clichés come together.
Village Voice by Nick Pinkerton
Luxuriantly-lashed Dekker leads the most attractive cast of small-towners this side of "Twin Peaks" but, though the setting is nearly as artificial as Lynch's, the melodrama is played quite straightforwardly here, even as the dialogue frequently borders on parody.
No matter how sensitive the orchestral-string score gets, the film can't locate the bone-deep sense of tragedy of Leslie Schwartz's novel - it just keeps belching out empty, grief-stricken histrionics devoid of insight.
Angels Crest has weaknesses that are tough to overcome. It relies too much on two particularly played-out indie clichés: a spare, plunky soundtrack, and a narrative structure that teases out characters' backstory far longer than necessary.
Another in the procession of dead children movies that followed Atom Egoyan's magisterial "The Sweet Hereafter," helmer Gaby Dellal's sophomore effort unfolds in a similarly snow-blanketed small town filled with grieving adults, the community divided in apportioning blame. In contrast with Egoyan's labyrinthine structure and complex storylines, Crest cobbles together bits of plot and a motley assortment of half-formed characters.
The New York Times by Stephen Holden
Although the movie captures the solidarity and the beauty and peril of a rustic mountain town whose residents are necessarily interdependent, its individual subplots don't connect. Despite several solid performances, the characters are too hazily sketched and too loosely linked to form a meaningful chain.
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