Stylish but barely mediocre overall

Redundant and unnecessary.

good back-story, and good acting

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

The director uses ambient light and realistic locations to give this film a documentary feel that gives the audience a sense that this could be a true story. He elicited passionate performances from every actor. Even characters with one or no lines make you believe in the reality of their world. This is a compelling story with a memorable twist at the end.

at my school and from the teaser, the film looks amazing. i'm told if i pusue my masters he'll be one of my professors so im excited.the film seems to be on the depressing side, either that or he he ran out of lights LOL. the camera movements are very much like eavesdropping on the conversation, which i like. like a fly on the wall.i have friend sin ucf film masters and can't wait to see what they come up with. i heat it is tough but this film looks great.I really really wish i knew what happens to the husband. it's gong to bug me until i find out. if anyone knows IM me LOL.

You can tell from the opening moments that there is an anger and passion driving the film, which is necessary on a film of this scale. Despite it being a smaller movie, the film still manages to be incredibly well shot with striking compositions. It's biggest flaw is its passion for the subject matter, and how it relentlessly moves from one moment to the next. The film, being tight at under 90 minutes, could use more breathing room to let its conflict build to drive the devastation home, but its enthusiasm for the story its telling shows that there's a strong voice at the helm. The good news? Usually films like this are a bit overwrought in its need to get a message across, but the film allows the story to speak for the subject matter rather than blatantly tell you what to think.

John Goshorn's feature film debut as a director manages to do something that even the most established directors shoot for, it puts a human (and tragic) face on the country's recent economic downturn. In less capable hands this morality tale might be too preachy, or overwrought, but we never find ourselves scolded by the film. Maggie and Jonah want take part in the American dream. They want to own a house. And so they buy a house, but for them, like for so many others that house becomes a noose around their necks when Jonah looses his job at the newspaper. Seeing no other options Jonah makes the ultimate sacrifice to help provide for Maggie. Jennifer Faith Ward and Tom Kemnitz Jr as Maggie and Jonah respectively are incredibly engaging and breathe life into their characters in way that reminds us of early Cassavetes. In fact, that filmmaker is the one that seems to have been this production's patron saint. Goshorn seems completely willing to enclose us in the claustrophobia of realism no matter how uncomfortable or horrific it may be for Maggie and Jonah, or for us.