3 Nights in the Desert (2014) Reviews

• Sort of a strange

  cekadah2015-08-17

  Sort of a strange story about three friends, who haven't seen each other in a long time, meeting at the home of the one who has chosen to be a recluse way out in the desert. As the story progress you learn they shared an interest in breaking into the music industry as a 'band' - but it never came to pass - and all three friends have gone in separate directions. Travis is the desert recluse, Anna and Barry have pursued professional lives and have joined the society as responsible members. Travis has a real problem with this. He rejected society for the solitude of the desert and his own thoughts. In my opinion Travis makes it clear that he was physically attracted to both Anna and Barry. Travis knows he cannot cross this barrier with either Barry or Anna. Barry and Anna had their own thing and Travis was always the third wheel. So to sum up this rather forgettable movie - Travis instigated this reunion to tell his two friends (and in a very abstract psychotic way) that he is going to kill himself. What are the clues? 1. Travis takes them to that mystery cave. 2. Travis disappears one night. 3. Travis sends Barry & Anna off to go home in his truck, without Travis. 4. As the story ends Travis is seen going into the cave - now his crypt! The end. This movie is only firing on 3 cylinders and never gets to the point.

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• Horrible Movie!

  zubinster2015-04-02

  Absoluetly awful! i don't know who they paid to get a 7.0 rating on IMDb. Three lousy actors, sleepwalking through an awful movie. Terribly written, badly directed, badly acted. I can go on and on... All you have to do is to to YouTube and look this movie's trailer. Those were the most painful 2 minutes of my life. Tag line:"THE BIG CHILL meets THE GRADUATE." Really? You should be so lucky as to do a "THE BIG CHILL meets THE GRADUATE." Nothing like the Big Chill and nothing like The Graduate. Using that tag line is an insult to the creators of those masterpieces. Just by attempting to link yourself to the likes of Larry Kasdan and Mike Nichols does not make you a "filmmaker." Viewers: Don't waste your time. Don't be impressed by the fake credentials. Don't believe the hype. Go watch cat videos on YouTube instead.

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• If this teaches kids not to believe in themselves the movie might win.

  guitarplayinglegend2015-07-11

  It wasn't the acting that bothered me at all. I thought the acting was pretty good. The entire concept of this movie, the world we live in, and how it shatters our dreams is what tormented me about this film. I respected the work that went into it enough to finish watching but after I was done I felt like I needed to forget all about it and never watch it again. Why is that? There are people in this world who say they are going to do something and follow through with their actions. There are people in this world who try something a few times, then quit, and just let life take them as they drift away into a meaningless existence. I felt like this movie was trying to teach me to go drift away into a meaningless existence. It is a very depressing, cold hard dose of reality that shows us how most younger musicians view themselves today. They feel their talents aren't important enough to make a living out of it so they go end up doing some job that they hate and stay miserable. To sum it up take three former band mates, put them out in the middle of nowhere, and let them drink until they feel better about giving up on their instruments. I wasn't sold. By the end of the movie I wanted to go write myself a masterpiece and I was not going to let the movie defeat me.

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• Wes Bentley is Val Kilmer thanks to The Suits

  AlexanderAnubis2018-07-22

  Greedy to inherit his uncle's one-unit slum, Travis (Wes Bentley) euthanizes his hapless relative by strumming his guitar and singing him to death, and then, overwhelmed by ennui, does the world a service by burning all his music, songbooks, and lyrics. Years pass during which Travis harvests wild peyote, and maintains a shrine by keeping a picture of George Will propped on his uncle's bed, right under a glassless skylight so the stars may look down unimpeded by refraction. Travis is into keeping it "real," you see, and aware that into every life a little rain must fall. It is for this reason he wears two carefully styled fronds of hair framing his face rather like Mena Suvari and Jason Biggs did in Loser (2000). But living off the grid has drawbacks. Although he learns to survive without water, Travis must hunt daily for rodents to run his generators, and reptiles to eat. Also, regularly having to pump out the composting toilet into the gigantic, rusting sewage tank becomes tiresome. Eventually he discovers that the glamour of solitary, desert slum life pales like the sun bleached enamel of his pickup. Travis is not Thoreau. At this point, coincident with his thirtieth birthday, Travis follows a drifting plastic bag and discovers The Cave. Entering the tunnel-like maw, he is guided by a naked Tom Laughlin through an ecstatic vision of an all-tile bathroom, (the basis of modern civilization), and emerges in a metaphorical rebirth characterized by a full-blown psychotic episode, the delusional architecture of which includes the existence of two "former band-mates," Anna (Amber Tamblyn), and Barry (Vincent Piazza). As the film begins Travis is fully engaged with these hallucinations. Although writer Adam Chanzit and director Gabriel Cowan initially leave the reality of Anna and Barry ambiguous, their phantasmagoric status is revealed by details similar to Herman Wouk's description of Captain Queeg as "a Freudian delight; he crawls with clues." For example: 1. Anna and Barry were both "born" in the same year, month and week as Travis. 2. The "reunion" is organized, (in fact, insisted upon), by Travis to celebrate their thirtieth birthdays, yet he owns neither telephone nor computer, (revealed when Barry "loses" his telephone but does not ask to borrow Travis'). 3. Travis lives off a dirt road in the desert without human artifacts between his dwelling and the horizon, yet his guests have no difficulty with wireless connectivity. 4. Travis exhibits uniform hostility towards Anna and Barry's successful integration into mainstream society, presenting an almost paranoid obsession with material status. This is very apparent when he demands that they place a dollar value on his "assistance" in his uncle's death. Travis' narcissistic denial is so profound he is incapable of recognizing that most people who care for a dying relative or loved one must do so without simultaneously being a freeloader like himself. 5. Travis' conceptualizations of Anna and Barry are hardly even caricatures. They are mere cartoons. Both are sellouts. Both are sexualized objects. Both are unobtainable. And both betray Travis by engaging in joyless intercourse on the second night, after Travis absents himself without notice and spends the dark hours shirtless on the desert floor. This masochistic fantasy reeks of self-flagellation accentuated with more than a touch of voyeurism when we learn Travis has recorded the encounter on Barry's cell phone, which he had previously stolen. 6. While Barry is the more detailed hallucination, he is also the more absurd. Barry is infantile: we see and hear about his masturbation rituals; we see him have a tantrum, break the bathroom mirror, (whose disappearing fragments reflect his (i.e. Travis') fractured self), fall asleep on the floor in a half-fetal position, and dream he encounters a digitally enhanced white unicorn that can't find its "horn." Barry is quite literally anal: we see and hear about his ritual of entirely disrobing prior to defecating. (Years earlier Travis found a neatly folded pile of clothing in a dorm latrine and couldn't help prowling through it because he "had to meet someone who took off all his clothes to shit.") Barry is a coward: he left the band for law school without telling the others because he was afraid of Travis' ridicule; he failed to invite Travis to his wedding because he was afraid Travis might shame him. Barry is dominated by his wife: he must run five miles every morning because she insists and becomes almost frantic when he can't find his phone and report to her. A telling exchange occurs near the end of the film when Travis says to Barry, "Maybe I'll come back as a hard working Jew." Hence Barry is an infantile, anal, timid, sexually insecure, Jewish tax attorney tied with thick apron strings. Such a creature could only exist within a disordered cranium. 7. When Travis breaks into one of the trio's old standards Anna and Barry join in with pleasure. Since we know Travis' music is Not Healthy for Children and Other Living Things, the pair can only be the stuff that dreams are made on. More examples could easily be cited. The film closes at the start of the third night. Anna and Barry trundle back into the aether, while our hero returns to The Cave to give suicide another try. We can but hope he at least makes a nice dietary supplement for those cute coyotes we never got to meet. Certainly not as dreadful as The Big Chill (1983), a movie about soulless androids striking facile poses in a series of furniture showrooms, but just about as hollow as Lawrence Kasdan's protestations that he had never even heard of John Sayles' Return of the Seacaucus Seven (1979). Where The Graduate (1967) is supposed to enter into all this is beyond me. Anyway, it should make a good second feature on Tamblyn Family Movie Night along with Peyton Place (1957), West Side Story (1961), or The Haunting (1963). XYZ

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• Heartfelt movie on old friendships

  chrisheaney2016-03-24

  We grow up. We change. And yet we often want our friends to stay the same. Or better yet, to make up for how they may have hurt us a long time ago. Sometimes we get that, sometimes we don't, and sometimes the fiercest, most passionate friendships come to blows. 3 Days in the Desert is a heartfelt story about those sorts of relationships, and how we try to make them better, but maybe learn something about who we are in the process. It's at times funny, but mostly appropriately sensitive and rueful about a lost friendship that could be rekindled. The writing is terrific, the cinematography is gorgeous and Wes Bentley and Amber Tamblyn shimmer in their roles. Believable but also magnetic. The other character, Barry, could have been softened in a lot of ways, but I find it really interesting that he wasn't. Can we be generous to the person whose dream changed along the way? Can we forgive the friend who broke our heart? This movie gives you a lot to think about. Watch it and then call an old friend. They want to hear from you too, I bet.

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