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| Luminous Motion | 
| Director: Bette Gordon
Actors: Deborah Kara Unger, Terry Kinney, Eric Lloyd, Jamey Sheridan, Patrick Fitzgerald
Studio: Fox Lorber
Category: DVD
List Price: $14.98
Buy New: $8.70
You Save: $6.28 (42%)
Buy New/Used from $4.49
Avg. Customer Rating:  (5 reviews)
Sales Rank: 31171
Format: Color, Dolby, Dvd-video, Widescreen, Ntsc
Language: English (Original Language)
Rating: NR (Not Rated)
Media: DVD
Running Time: 94 minutes
Number Of Items: 1
Aspect Ratio: 1.85:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.6 x 5.3 x 0.6
ISBN: 0794201172
UPC: 720917529523
EAN: 9780794201173
ASIN: B00005NC64
Release Date: October 16, 2001
Theatrical Release Date: 1998
Availability: Usually ships in 1-2 business days
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Description
Bette Gordon, who made her directorial debut in 1983 with Variety, returned 15 years later with this adaptation of Scott Bradfield's novel The History of Luminous Motion about an alcoholic mother. "Only two things mattered to me ? being with my mom and being in motion," says ten-year-old Phillip (Eric Lloyd), who teaches himself physics and biology as he's driven about by his mother Margaret (Deborah Kara Unger). After a car crash, they settle down with Hackensack hardware store owner Pedro (Terry Kinney). Phillip receives letters and phone calls from his dad (Jamey Sheridan). Eventually, mother and son leave Pedro to live on Staten Island ? where the boy meets some strange teens (James Berland, Paz De La Huerta), Pedro appears as a ghostly figure, and Phillip's father turns up. Shown at the 1998 Locarno Film Festival. ? Bhob Stewart
Amazon.com
Ten-year-old Phillip (Eric Lloyd) and his mother (Deborah Kara Unger of Crash and The Game) travel constantly from town to town, stealing enough money from obnoxious men to keep them in food and gas. A car crash lands them in Jersey suburbia, where Mom decides to settle down with Pedro, the man who rescued them from the wreck. Phillip doesn't agree, and after he takes a rash step, they're in flight once again--but now Mom is realizing she may not be the most troubled member of the family. When Phillip's father (Jamey Sheridan, The Ice Storm) returns to reclaim his child, the trouble only increases, and Phillip once again decides to take matters into his own hands. Luminous Motion is a mix of compelling psychology and beautiful cinematography, with a storyline that coils tighter and tighter. Dark and elliptical, but rewarding. --Bret Fetzer
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| Customer Reviews:
I guess it could have been worse... October 16, 2006
2 out of 2 found this review helpful
Luminous Motion (Bette Gordon, 1998)
When you get Scott Bradfield adapting his own underrated novel for the screen and put Deborah Kara Unger (Crash) in the lead role, good things are to be expected from the film treatment. Unfortunately, not a single one of those good things is realized.
Mom (Unger) and her hyperintelligent kid Phillip (Eric Lloyd, who's recently been making his bucks in the Santa Clause franchise) lead a rootless existence, living out of their car and motels, feeding themselves with Mom's petty thievery and series of one-night stands. Until, that is, they meet Pedro (Amber Frey: Witness for the Prosecution's Terry Kinney). Pedro isn't exactly a knight in shining armor, but he's a nice enough guy, and Phillip's mom likes the idea of settling down. Phillip, on the other hand, is not happy with the idea at all. Things get even more complicated when Phillip's dad (Jamey Sheridan of Law and Order: Criminal Intent) shows up to try and make a go of playing family again.
About the best word I can come up with to describe this movie is "disjointed." There's a good deal going on under the surface here, but the surface isn't coherent enough for most of it to gel, and se we end up with more questions than answers after seeing it. The principals are all at least half-decent actors, but most of them seem to be railing against a blank wall rather than actually interacting with one another.
Not a worthy treatment of Bradfield's novel. **
Alcoholic floozie on her own raises murderous brat-- June 4, 2005
4 out of 4 found this review helpful
So what's new?
I'm reminded of a friend's description of an article he had read: zoologists observed a herd of elephants whose alpha male had died. The young male elephants failed to mature properly, becoming wantonly destructive, and the adult females could not control them. Only when a new alpha male joined the herd was order restored.
If this glitteringly surreal but naturalistic and nihilistic film shows any truth, it is that humans are no different in this respect. It seems an unlikely moral to come from a reputedly feminist director, but there we are.
10-year-old Phillip appears to be a sympathetic character at first: very intelligent, thoughtful, adventurous, devoted to his mother, making the best of a bad situation. But gradually he is revealed to be totally self-centered and amoral, with an oversized Oedipus complex, a morbid imagination, a keen nose for the worst of company, and of course no manners at all. Some would say he needs a shrink. It is more obvious that he needs a dad, although anyone stepping into that role does so in peril of his life, as Pedro discovers.
The last scenes are represented as an affluent but utterly sterile existence: mother and son sun themselves on air mattresses in rich husband/dad's backyward swimming pool, conversing as they slowly drift apart in the water. But at least everyone's still alive.
 disgusting August 17, 2003
3 out of 3 found this review helpful
I originally bought this movie to see Eric Lloyd, it turned out to be a complete bomb. There is no plot, it is incredibly weird, lacking any sense of anything. All that happens is him and his mom go from town to town stealing what they can from unsuspecting strangers to survive. It will leave you thinking "what was that" and have you looking for some normality for an hour or two later. There is nothing to grasp. If you were thinking about buying it to see Eric, it's not worth it, go see him in something else worth the time.
Bad, unpleasant film April 1, 2002
11 out of 20 found this review helpful
LUMINOUS MOTION is the kind of mess that just can't escape certain people who praise it because it's so "offbeat" and "different" and "low key". Yes, it is all three of those and I myself certainly like something offbeat, different and low key in my movies too. However, those qualities don't necessisarly translante into "Good".And LUMINOUS MOTION is definitely NOT a good or even OK film. In fact, it's pretty bad. It's not that it's badly acted...Eric Lloyd is very good. The film goes way overboard with the "motion" theme, pummeling it to death. People also apparently don't mind that this boy ends up doing some pretty nasty things in this movie. It left me feeling empty and depressed with hardly anyone likable or redeeming in it. The movie rambles on and on with occasional fringes into the surreal. Surreal stuff like this is tricky to handle, and LUMINOUS MOTION can't get a handle on it.
 Eric Lloyd Gives a Performance That Will Win Your Heart! December 6, 2001
25 out of 26 found this review helpful
Scott Bradfield's novel of the same name receives a senstive and winning screen adaptation. Although this movie did not get much attention when it first appeared, you will greatly enjoy seeing it on DVD. The DVD transfer is first-rate. Eric Lloyd is the one to watch here!--Sensitive Stephen, Host of BoysOnYourScreen.net A plot summary: Ten year old Phillip Davis has spent half his life
joyously living on the California highways with his
carefree and highly seductive mother. Every night is a
road, every man is a map, and no love is stronger than
the love Phillip feels for his mom. Mom is light and
Mom is motion. So when Mom decides to settle down and lead an
average life with an average American man, Phillip
sees himself as her savior, and his mission is to
liberate Mom. At first, he appears to succeed, but an
unexpected event sidetracks his plans: Phillip's
powerful father re-enters his life and he wants his
family back. Oedipus was lucky - he was ignorant of
his crime. But Phillip is all too aware of his situation
and he knows exactly what he must do to regain a life
in motion. Phillip's obsessive love for his mother is intense and
perhaps perverse but it is also as innocent and
psychologically familiar as Humbert Humbert's
hopeless love for Lolita. Ultimately, Phillip learns that
Mom is a world all her own and there are some places
we must all go alone.
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