It is a performances centric movie

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

The only minor drawback with American Heart, and it should not be a big one for most concerned, is that so much of it is taken and/or borrowed from the details and real people and situations documented by director Martin Bell in Streetwise that it almost feels very slightly watered down in comparison. This is not to say that American Heart doesn't have its share of nicely defined grit or realism, but for those handful of viewers who were lucky enough to see Streetwise it isn't quite exactly the same, despite the similar locations and (some) real street kids used again and Tom Waits song accompaniment from time to time.But this is minor as a liability for two reasons: 1) Martin Bell is out to make a film for all those audiences, however small in the independent film market, who didn't get to see Streetwise and want the facts put into a perspective of compelling dramatization, and he shows the goods as a director of naturalistic settings and specific scenes, and 2) Jeff Bridges. Bridges plays a character based upon a real convict (featured in only one, but perhaps the most shattering, scene of Streetwise) who is out of jail and has to take care of his 15 year old son played by very young Edward Furlong. Bridges gets so deep into this character, so in touch with the hard-bitten mannerisms and hard-knock-lived way to his voice and even the bits of vulnerability that it's hard to see it as anything less than remarkable.If Furlong isn't quite as remarkable maybe it's to be expected since, frankly, he was still too young to impress much further than his own affected way of speaking and acting. Yet he is fantastic at playing off of this father character, who isn't unloving but knows what road he could go down with just one wrong step (such as, for instance, getting into business with his old crooked diamond-stealing partner). American Heart, on its own terms, allows for Bridges to show what a small treasure (yes, breaking out the pompous terminology like 'treasure') he can be as an actor in American film, and brings to light the degradation of the urban life in Seattle.Indeed, as a big credit to Martin Bell, it's no less harrowing at times watching these people on the streets, in the bars or the crummy hotel rooms trying to get by or hanging out, living by wits end (if that) as in Streetwise. Only Herzog, with his two films on Dieter Dengler, can probably top Bell's films on Seattle's lower classes in terms of immense dramatic impact, technical skill, and a lead performance that embodies the attitude and conflicts of the danger at every turn. It's overlooked to say the least as far as highly charged but unsentimental indies go.

I recently stumbled upon one of Jeff Bridges early pieces entitled "American Heart" and was again impressed with his ability to take a cliché character coupled with a choppy story and transform it into a meaningful, albeit mediocre, film. While not all elements work in this independent feature, it is the power and raw nature of the good parts that make this itty-bitty feature shine.Jeff Bridges. Even in the early 90s he was making powerful cinema with strong characters and dedicated roles. "American Heart" could have easily fallen into the category of desperate father/son reunion fare, but instead it jumps beyond that into a world all its own thanks to our leading man, Mr. Jeff Bridges. He is nothing short of flawless in this film. His body image, his tone, his strength/courage/fears are all incredibly real and developed. When you watch "American Heart", you do not see Bridges playing a father role, but instead see the character of Jack in every scene. Through those squinty eyes and burly biceps, through the years of prison life dutifully planted behind his long, pony-tail hair, his youthful troubles beautifully (albeit randomly) placed throughout this story, Bridges becomes Jack. He becomes a man who has seen more in life than we have time to see, but yet we can see it through Bridges' character. Bridges is the lead and the obvious scene-stealer of this film and there is no way to deny his excellence. It is due to his ability that the other characters fall in line. Those surrounding him, Edward Furlong, Lucinda Jenney, Tracey Kapisky, and Don Harvey are devoted characters, but they do not measure up to what Bridges is pouring. The coupling of Bridges and a young Furlong is exceptional, but for me, it could have been more. They are father and son, the connection there is obvious, but it is when Furlong explores on his own, symbolically following in his father's footsteps, that we see a lack of character. He becomes annoying and more childish than mature. This is a growth film for Furlong, and in my opinion, there wasn't enough growing for Furlong to really make that pivotal change by the end. He should have had more interaction with Charlotte, who isn't used enough to perhaps add conflict between the two men. She is one of Bridges' backbone character, but is only used as more eye-candy for the screen. Then there is Bridges' old business associate who just happens to follow the rulebook for cliché, he was my least favorite character and more filler than necessary. My point? Without Bridges this would have been a forgettable film.Characters were beautifully placed. Bridges claims this to be his favorite film, and his heart, his entire heart is in the character, but Peter Silverman's script could have used more grit. There was still a sensation of sugarcoating involved with the story. How simple was it for Nick (Furlong) to get to his dad, to not have to go to school, to live on the streets – these were are too simple for someone who may not have had the real-life experiences yet like his father. This doesn't mean that the story wasn't dark. This is a story of a family with nothing, who strives to have nothing more than just freedom and each other – it is a dark story and Martin Bell did a phenomenal job of making sure that we weren't distracted with unnecessary emotional pitfalls. His camera work and direction paired well with Bridges' powerful work, but it again goes back to the downfall of the story that will not allow me to give this film a perfect score. The relationship between Furlong and his pseudo-girlfriend is annoying, and ultimately distracting from the real story. There is no chemistry or emotion there, so when he tries to "free" her, it just feels like an event that needed to happen instead of "should be" happening. The stripper mother story, again, too much filler. Thankfully, these are all used up in the center of the film giving us a strong beginning and an emotionally beautiful ending. Powerful acting, strong direction, tight camera work – a couple of more hours spent on the script and "American Heart" would be an instant addition to the collection.Overall, I liked "American Heart" because of the true work that everyone put into it. This was a project of passion, a story with characters that everyone wanted to be involved with no matter the chunkiness of the story. Bridges needs to win an Oscar, he should have won for this film. You, as a viewer, cannot keep you eyes off him as he struggles with the new life in Seattle and dreams of Alaska. Martin Bell understands the streets, or at least early 90s streets, and while the image of this film doesn't withstand the test of time, the overall tones and themes are powerful and unforgiving. Furlong tried to keep up with Bridges, but it was impossible. There were times he was just too childish and annoying, completely destroying the conventional character developed from the beginning. There are great moments in this film that stand apart from the classic Hollywood recycle, and for that I must give "American Heart" credit. If released today, I think it would be a runaway success, it would be a word of mouth film, while I cannot add it to my collection, it will be a film I will strongly suggest to others. Jeff Bridges. Can you believe the work he did in this film? The man has an undeniable eye for the trade that he is in, and he should not be afraid to exploit it further. With "American Heart", Bridges has rejuvenated my hope to find a great American actor.Bravo Mr. Bridges, Bravo!Grade: **** out of *****

This is a dramatic, narrative film by Martin Bell, the director of the excellent documentary "Streetwise". And while it is obvious Bell was a little uncomfortable with the narrative format, it is one of the few independent films of the 1990's that doesn't suffer from the Quentin Tarantino syndrome--i.e. it is not just a pastiche of other movies the director has seen. It's clear Bell based a lot of this movie on real life. In fact, many of the characters here were obviously based on real people in "Streetwise"--the kid and his ex-con father, the tomboy lesbian, the 14-year-old amateur hooker. The movies suffers a little in comparison to early Gus Van Sant films ("Mala Noche","Drugstore Cowboy", "My Own Private Idaho")which had similar down-and-out characters and were also set in the American Northwest. But many will find this film refreshingly honest and less pretentious, at least, than some of Van Sant's films.What really makes this film is the acting. It marked Jeff Bridges return to independent film (five or six years before "The Big Lebowski"), and his performance here makes one forgive him for the Hollywood crap he made in the 80's like "Against All Odds". Edward Furlong is also very good. I remember reading some alarmist claptrap about him in Premiere magazine around the time of this movie, about how he was dating a 30-year-old woman (oh, the horror! the horror!) and about to become another young Hollywood casualty. Well, starting with this film he ended up carving a nice little niche for himself in independent film (i.e. "Pecker", "Animal Factory"). Turns out that just because you're not starring in "Terminator 3" it doesn't necessarily mean you're sharing needles in a crack house with guys named Corey and girls named Shannen. And as a little icing on the cake this movie has a great Tom Waits theme song which you can't find any of his albums. Definitely a recommended movie.

I had seen this movie years ago, but recently I bought it and viewed it again. I knew I had liked the movie when I first saw it, but this time around I loved it. It is a great drama movie with a great Father/Son relationship story. Edward Furlong is really great in this film. He plays the role the way a role like this should be played. I would recommend this movie to others who enjoy a good story and a good drama. I thought the ending was sad and personally would have enjoyed a happier ending. Great movie! Kristin