I love this movie so much

the audience applauded

This film is so real. It treats its characters with so much care and sensitivity.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

At first glance the initial scenery was enough to make me change the channel until I saw that Steve Buschemi was one of the leading characters. The dull grainy cinematography in combination with sad clowns performing poorly before a local TV station child audience, was enough to make me think, OK this is just weird.But even during those first few scenes I saw a dark humor typical of today's attitude towards the unfailing reality of life, so given that, I decided to watch on. What I witnessed was a film about one of those strange nights when the Moon is full, the mystical powers are strong in the air and the lives of strangers will cross.The relationships of these strangers center around the Bail bondsman "Mo" (David Proval) but the events of the night surround his estranged son "Timmy", whose mother comes to the father in a babysitting emergency. Unbeknownst to the father his son has only one kidney that is barely functioning and he is waiting a beeper call from the hospital for a donor. While this is happening most of the other characters also need Mo for Bail at the very same time, sort of a convergence of need all at one moment. After going to the Jailhouse to perform his duties, the child wanders out in the parking lot and almost gets hit by a car. At this very moment the story changes from a group of quirky adults trying to solve their own problems to a group of adults realizing that all of their selfish desires are nothing compared to the needs of this child. From this point forward the scene changes are chaotic and bizarre in a Pulp Fiction type fashion, but the message remains clear, even while whining about their pathetic lives these adults keep their focus and do all that they can do to help the boy and find his Kidney donor who has wandered out of the hospital.There are defining moments that will remain with the boy, the scene in the hospital, the trip his father takes after hours to the zoo to see the monkeys and when everyone jumps into the pool, giving the child a sense of joy you feel he has had yet to feel in his pitiful little life. There are several epiphanies amongst the cast of characters. One of my favorites is when the night watchman from the Zoo tells Mo "shooting me with that gun isn't going to make you a better father". In the end the child is saved by the supreme sacrifice of the priest "Owen", who had been suffering from doubts about his priesthood and searching for the meaning of his life.This Movie has genuine moments of dark humor and a very meaningful and happy ending. If your looking for something a little different that doesn't leave you feeling haunted, you will enjoy this movie.

Thank the cinema gods that movies like this are still being made - personal, inimitable, expressive visions you'll never see in a studio boutique division's wildest dreams!Doing his best work since the very funny "In The Soup," Alexandre Rockwell again works with a large ensemble cast of fine but often under-used actors to tell the niftily interwoven stories of an unlikely set of characters all of whose paths cross because of a marital spat and a life-weary bailbondsman getting saddled with his waifish son - who's in desperate need of a kidney transplant. Problem is, it seems the only good match is sloshing about in the innards of the bedrugged, drunken, wacked-out Peter Stormare (in a Santa suit, continuing Rockwell's ongoing leitmotiv in several films). The movie, beautifully shot on hi-def video by the estimable Phil Parmet, with an insinuating score, all takes place in one night, an extended but befuddled chase after the wayward, reluctant kidney donor.Among an as entertaining group of actors as you're likely to find, Daryl Mitchell, Rose Rollins, and Peter Dinklage are especially sharp and funny. Keep an ear peeled for Rollins's perfectly pitched horribly bad rap song!Lots of incidental pleasures along the way, and, typical in the Rockwellian oeuvre, an uplifting moment at the end - literally and figuratively. All in all, a shaggy-dog delight.

SLAMDANCE pulled a major coup by opening with a quality film by one of the directors who gave SUNDANCE such a sterling reputation for indie films. One of the great things about film festivals is on rare occasions you get bragging rights to having seen a quality film before the rest of the world gets a look at it Steve Buscemi is always killer, and here he's given material to match his talents. He's probably the last guy you'd pick to play a clown (he's seems a crying on the inside AND outside actor), but the counterintuitive comic casting works like a dream. Hard to p*** and moan and be funny at the same time, but Buscemi and the writers pull it off. Karyn Parsons, who was so good on THE JOB with Denis Leary and was so much better than the material in such crap as MAJOR PAYNE and THE LADIES' MAN -- is killer, and hot to boot. A smart, genuinely funny comedy for adults that doesn't suck. Rarer than a perfect spring day and just as welcome.

13 Moons, surprisingly, is one of the most lucid and hopeful flicks to emerge from the muddled dreams and frequently vengeful psyches of Los Angeles in years. A quest film every bit as compelling and complex-- and considerably less tricked out-- than Lord of the Rings, it's Alexandre Rockwell's valedictory to a city which may have little use for the independent filmmaker, but which offered him a way back to his own larger, more magnanimous instincts as an artist. An ever greater number of characters, from a clown Steve Buscemi to a bail bondsman and dead beat dad (David Proval) to a remarkably bad and self aware rapper/singer/ho (the extraordinary Rose Rollins), find themselves inhabiting, momentarily, a similar platform, a little piece of Los Angeles in the dead of the night. Like most of us, their dreams only bubble rarely to the surface of their lives, jostling there with their disappointments until they're submerged again under the monotony of their day jobs. But unlike most of us, these 7 people, in spite of themselves, find purpose in their movement. They go from a downtown bar to a bail bureau, from a cop station to a memorable moment in the zoo; and in their sojourn, they intersect with real need…an 8 year old, whose kidney is failing, whom dialysis only momentarily helps, who's thrown on the mercy of a city whose larger, social impulses seem deadened…and yet. A strong ensemble cast, energetically directed and brilliantly shot by Phil Parmet, makes 13 Moons that rare independent LA flick: one whose ambitions are so much greater than an audition for a studio picture. 13 Moons wants to give us a different way of imagining ourselves and the city we inhabit but so little know.