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Project Greenlight [4 Pack Collector's Edition][Collector's] - DVD

SKU: 4747091 | Release Date: 9/24/2002

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Rating: NR
Format: DVD
Length: 453 minutes
Screen Formats: Enhanced Widescreen for 16x9 TV
Genre: General Television
Studio: Walt Disney Video
Aspect Ratio: 1.33:1/1.85:1

Synopsis

Includes:

Project Greenlight: And Then There Was One (2001)

Project Greenlight: Pete Goes to Work (2001)

Project Greenlight: Ben Calls Harvey (2001)

Project Greenlight: One Down, 24 To Go (2001)

Project Greenlight: Tightening the Reigns (2001)

Project Greenlight: The Big 'Dance (2001)

Project Greenlight: Take Me Out to the Ballgame (2001)

Project Greenlight: Life's a Beach (2001)

Project Greenlight: It Hits the Fan (2001)

Project Greenlight: Avoiding the Fire (2001)

Project Greenlight: Sweet Home Chicago (2001)

Stolen Summer (2002), MPAA Rating: PG

Project Greenlight: And Then There Was One
HBO's Project Greenlight is a reality TV series that documents the results of a screenwriting contest. The winner was supposed to get one million dollars from Miramax to produce a film. The first episode begins with executive producers Matt Damon, Ben Affleck, and Chris Moore (Good Will Hunting, American Pie) explaining how the contest works, and what inspired them to create it. "It's something that we wish was around when we were trying to sell our script [for Good Will Hunting]," says Damon. The process through which over 10,000 scripts were pared down to only ten is detailed. Moore is shown calling these ten writers to tell them that they'll each be sent equipment to shoot one scene from their script. These contestants send in their scenes and are flown to L.A. for a screening where the three finalists will be announced. The judges, including Affleck, Damon, Moore, and four Miramax executives, are shown discussing the relative merits of the contestants as screenwriters and directors. The contestants arrive at the screening in their limos, and are swarmed by the press. At the end of the event, Affleck and Damon hem and haw nervously before announcing the finalists, while the ten contestants agonize over each second. The finalists -- Pete Jones, Brendan Murphy, and the team of Evan Katz and Barron Ebenstein -- then have to answer questions from the jury about potential problems with their scripts. The jury deliberates for hours. Damon argues passionately for Murphy's challenging script, but Moore thinks Jones tells a better story. Still unable to decide, they call Jones and Murphy back for one more interview. Jones makes his case more passionately and is declared the winner. He makes a staged "surprise" appearance on The Tonight Show with Affleck to announce it to the world. ~ Josh Ralske, All Movie Guide

Project Greenlight: Pete Goes to Work
On the second episode of Project Greenlight, newly christened screenwriting contest winner Pete Jones begins pre-production meetings on his script, Stolen Summer. "I'm ready to make a movie," says Jones, in his trademark halting, William Shatner-esque cadence, "I'm not really sure how to go about it at this scale." Others know what a challenge he's facing. "As hard as you have ever worked," executive producer Matt Damon says, "triple it, and that's what it is to direct a movie." Line producer Patrick Peach talks about the risks involved in handing the reins to a first-time director. Jones gets notes on his script from Miramax. There are discussions about the budget. Peach, who will oversee spending on the shoot, says, there's "no way to do it on a million-dollar budget." Jones realizes, "Everything you write has a cost to it." Executive producer Chris Moore tries to prepare Jones, telling him that he may have to sacrifice shooting the film on-location in Chicago, or setting it in 1976. "He's in a tough spot," Moore points out, "because it was sold as a million-dollar movie and it can't be made for a million dollars." Miramax arranges for Jones to meet with director Kevin Smith (Clerks). After Jones complains to Smith about his budget battles, Smith jokingly turns to the camera and shouts, "This motherfu--er appreciates nothing!" Responding to Miramax exec Jon Gordon's suggestion that he set his film in 2001, Jones says, for the first of what will be many times, "Over my dead body." The casting process begins, with casting director Joseph Middleton suggesting Aidan Quinn for a key role. Jones wants to try to get Sean Penn before offering it to Quinn. He also writes a letter to Emma Thompson, who turns the project down. ~ Josh Ralske, All Movie Guide

Project Greenlight: Ben Calls Harvey
In the third installment of HBO's reality series Project Greenlight, Pete Jones and the executive producer of Stolen Summer, Chris Moore, continue their pre-production battle to get a bigger budget for the film from Miramax. Jonathan Gordon, Miramax's executive vice president of production, is annoyed about the memos he's gotten from Jones and Moore complaining about the money-saving script changes the company has suggested. One suggestion was to shoot a pivotal swimming scene in a pool instead of in Lake Michigan. Jones again threatens to cry. The casting process continues. Sean Penn turns the film down, so an offer is made to Aidan Quinn. Executive producer Ben Affleck drops by and is told about the changes Miramax has suggested. "Do they have to be kids?" Affleck jokes, referring to the problematic lead roles in the script, "Can they just be short?" Prodded by Jones and Moore, Affleck calls Miramax head honcho Harvey Weinstein. They arrange a meeting to discuss the budget. Moments later, Gordon calls, upset because they went over his head. "You guys suck," he tells them repeatedly, "I can't believe you didn't call me first." Affleck unveils his Chris Moore impression, telling Gordon that Moore said, "Jon Gordon's stonewalling us." Affleck explains that Moore has a penchant for getting "wildly overdramatic" in his memos, joking that he often threatens to kill himself. Affleck talks privately to Gordon, then tells the team that he got them a 1.7 million-dollar budget. Later, Jones finds out that Weinstein didn't want to sell the foreign rights to the film to raise production money, so the number is lowered to 1.5 million dollars. Later, Aidan Quinn expresses reservations about working with an inexperienced director, saying he wants to be involved in casting and wants the length of the shoot extended, meaning another fight over money. ~ Josh Ralske, All Movie Guide

Project Greenlight: One Down, 24 To Go
Line producer Patrick Peach points out that "the first day of shooting is really important in terms of Pete's confidence." Co-producer Jeff Balis explains that his job is to make sure that things are going smoothly, and to keep executive producer Chris Moore up to date. Michelle Sy says that she's on set to watch out for Miramax's interests. They all have to make sure the low-budget shoot stays on schedule. They have to "make the day" -- get all the scheduled shots done -- each day, because they don't have any flexibility. Bruce Terris, the first assistant director, explains that he's "the whip," making sure everyone on set is where they're supposed to be when they're supposed to be. The production hits a snag right away, as the first shot of the day includes the two child actors, and takes place under the El tracks in Chicago. The trains frequently pass overhead with a deafening roar. Director of photography Pete Biagi points out that the production didn't budget for a sound crew rep to be involved in location scouting, which might have averted this problem. Pete Jones does his best trying to squeeze the shots in between passing trains. Leah Gale, the children's acting coach, tries to keep Adi Stein and Mike Weinberg focused. The children are only allowed to work about five hours a day, and as the clock ticks down, Weinberg gets restless, and has trouble remembering his lines for a complicated and emotional scene. Others push Jones to cut some of the dialogue, and at first, he resists them. "Let's pay the script the respect it deserves," he says. But eventually, with time running out, he gives in. Later, Moore arrives at the production offices, and chastises Balis for not keeping him informed of the problems they encountered. ~ Josh Ralske, All Movie Guide

Project Greenlight: Tightening the Reigns
Bonnie Hunt complains to director Pete Jones because she's concerned about how she's being lit and shot during an emotional bedroom scene. The DP, Pete Biagi, is unsympathetic to Hunt's problem. "Is this a Hollywood movie where everything's slick and glossy?" he asks. Some on the production team think Jones has put too much faith in Biagi to handle the visual aspects of the film. The director disagrees. Later, the filmmakers need to shoot three pages of dialogue before lunch, which is a lot. Biagi takes an excessive amount of time to light the location, leaving Jones with inadequate time to work with his child actors, Adi Stein and Mike Weinberg. The film's editor, Gregg Featherman, tells Jones he's not happy with the kids' performances. So Jones confronts Biagi, telling him they can't spend so much time waiting for lighting. Biagi lets the crew know he's unhappy with Jones' approach. Later, shooting Hunt and Aidan Quinn in the bedroom, Biagi doesn't get the shot he wants on a pan, so he intentionally shakes the camera, making the pan unusable. He calls it a "sly dog trick to protect the visuals." Producer Chris Moore calls it a very "aggressive" move, displaying Biagi's lack of trust in the rest of the production, and his desire to protect himself. Later, for a crucial scene at the beach, Biagi and Jones want a crane shot for the climax. This entails a long day putting together scaffolding for the camera out in the ocean. Moore and Jeff Balis both question the need for the complicated shot, which Biagi insists on shooting during "magic hour," at dusk. Another problem arises at the beach. The water is freezing, and neither Stein nor Weinberg knows how to swim. ~ Josh Ralske, All Movie Guide

Project Greenlight: The Big 'Dance
Chris Moore admits to Pete Jones that he's "very upset...at how poorly produced" Stolen Summer was. Jones doesn't take the comment well, and refuses to blame Jeff Balis or Pat Peach for the film's shortcomings. Moore explains that when it comes time to edit the film, "it's the world of taste," and this is borne out by several arguments between Jones, editor Gregg Featherman, the producers, and Jon Gordon of Miramax. Producers Matt Damon and Ben Affleck both compare parts of the film to the simplistic animated series Davey and Goliath. Jones decides that he needs to re-shoot some scenes, but Miramax won't spend any more money, and this time, he decides not to fight them. A disappointed Moore calls it "the moment when Pete Jones got studio." The film locks picture, although Jones expresses doubts about the finished product. Eventually, the film is accepted into the 2002 Sundance Film Festival, where a nervous Jones is relieved by the audience's positive response. When the screening is over, cast and crew (including former rivals like Peach and Balis) are seen celebrating and embracing. Affleck explains the dynamic -- "Movies are inherently like this. You have all these fights...you have big drama...then you've gone through all this together, so you're all sort of buddies at the end." ~ Josh Ralske, All Movie Guide

Project Greenlight: Take Me Out to the Ballgame
Though the producers had discussed having a cover set for the baseball scene during pre-production, the day before the Little League scene, when there's a good chance it will rain, director Pete Jones says he doesn't want to shoot the hospital scene at the cover location. He says he didn't think the actors were "emotionally ready" for the dramatic scene. Chris Moore discusses the situation with Jeff Balis, who can't give him any answers. "If it's pouring rain and we can't shoot anything," he warns Balis, "I will be far less controlled than I am right now." Naturally, there's a huge storm, and the field is full of puddles. But the decision is made to shoot the scene anyway. Moore has to fly back to L.A. to attend to his wife, who is due to have a baby. Kevin Pollak tells Jones he's concerned about the health of the extras, who are sitting out in the cold, wet bleachers. During a lunch break, Pat Peach tells first assistant director Bruce Terris that Balis is green, and the studio has no confidence in him. "I'm not very political," Terris later says. As the shoot continues in miserable weather, the morale of the crew takes a downturn. Later, while the others are nervously watching dailies, Peach calls a Miramax exec with more complaints about Balis. Peach and the crew later make the decision to postpone shooting some scenes at the beach until the following week, when the weather might improve. Peach suggests that Balis withhold this information from Moore until things are more firmly decided. Later, Moore calls Balis and complains about being kept out of the loop. He tells Balis he wants him to leave the set and return to L.A. later that week. ~ Josh Ralske, All Movie Guide

Project Greenlight: Life's a Beach
Pete Jones is still on the beach, attempting to shoot a pivotal swimming scene with Mike Weinstein, one of the child actors in Stolen Summer. Jones and DP Pete Biagi want to film a dramatic overhead shot. Unfortunately, the crew needs to build scaffolding and a jib for the camera, Lake Michigan is extremely cold, and Weinstein can't swim. There are more complaints from the production team about the lack of a shot list, but it doesn't bother Biagi. "Low-budget films, you can make it up as you go along...shot lists are for wimps," he opines. Biagi refuses to shoot any of the scene before "magic hour," even though Jones understands that they're going to run out of light, and wants to get something "in the can." After a couple of awkward takes in the freezing water, Weinstein says he can't shoot anymore. They bring in his stunt double, Jodi Smith, to get some more swimming footage. Eventually, Jones coaxes Weinstein into the water for one more shot of him swimming, with safety people on either side of him holding his legs up. As the sun sets, co-producer Jeff Balis comes up with another shot, from behind Weinstein as he walks into the water. Jones initially objects, but they get the shot. A few days later, the shoot wraps. First assistant director Bruce Terris points out that Jones had an excellent crew, and the novice director may not have realized how good they were. Later, editor Gregg Featherman shows Jones two different cuts of the swimming scene, and Jones reluctantly decides to cut all the problematic overhead footage. The shot Balis thought up at the last minute is the only one from that beach scene that makes it into the final cut. ~ Josh Ralske, All Movie Guide

Project Greenlight: It Hits the Fan
Day two of the shoot of Stolen Summer doesn't go any smoother than day one did. To add a little more pressure, producer Chris Moore is at the location. Things start off badly, when it takes much longer than anticipated to rig a process trailer with a camera to tow a car behind it for the first shot of the day. To make matters worse, the shot is framed so that non-period cars can be seen in the background. Moore points out that there was no need to have the shot take place in a moving car to begin with. He questions the decision-making of the production team. Things get even worse when the caterer doesn't show up with lunch. Union rules state that if the crew isn't fed by one o'clock, the production has to give them penalty pay. And then the camera short-circuits. "This was not a banner day for the organization of Stolen Summer," Moore dryly tells his production team when they finally do sit down for lunch. He tells Jeff Balis and Pat Peach that they have to say no to Pete Jones sometimes, despite Jones' propensity for saying, "Over my dead body." Later, Peach tells Moore privately that he was talked into the camera car by Balis, and questions Balis' leadership ability. Peach and Balis later advise Jones to come up with a new catch phrase in his dealings with Moore. The production moves to another location, and they finish the day early. Balis suggests getting a shot that had been planned for another day, but when Moore isn't looking, Jones and DP Pete Biagi add a new shot instead, which leads to a heated confrontation between Moore and Jones. ~ Josh Ralske, All Movie Guide

Project Greenlight: Avoiding the Fire
Pete Jones is very upset on hearing that co-producer Jeff Balis has essentially been fired. He says that he needs Balis on his set. Balis tells Jones that he had thought things were going pretty well. When Jones tells Pat Peach the news, Peach doesn't seem particularly upset about it, and suggests Jones "just be cool" about the decision. The next day, they're shooting the most elaborate scene of the film, a scene in which a firefighter, played by Aidan Quinn, rescues a boy from a burning house. Due to some confusion on the part of Jones and DP Pete Biagi about how much of the house will be in the shot, the art department has to scramble to dress the side of the house. They don't start rehearsing until four hours after call time. Chris Moore calls Peach on the set, and asks him how things are going. Jones takes the opportunity to complain to Moore about his decision, and Moore tells him, "Jeff is being fired because of you." Later, Moore calls Michelle Sy at Miramax to get her opinion about his taking Balis off the shoot. He then calls Balis to give him the good news -- Miramax wants him to stay on. Balis agrees to call Moore every day to let him know how things stand. Balis is cool to Peach, because by now he's heard that Peach was "stabbing [him] in the back." On the set, Biagi doesn't get good coverage of a stunt involving a fireball, but he doesn't seem too unhappy about it, because he wants the film to focus on the "human side" of the story. Balis lets Jones and Biagi know that henceforth he wants to see a shot list at the beginning of every day. ~ Josh Ralske, All Movie Guide

Project Greenlight: Sweet Home Chicago
Pete Jones leaves L.A. for Chicago to begin scouting locations, scheduling, and doing other pre-production work that needs to get done before he can start shooting his movie, Stolen Summer. Jones gets good news from Miramax. They've met all of Aidan Quinn's demands, including extending the shooting schedule, and he's signed on for the film. Jones visits the insurance agency where he used to work, and tells his former co-workers about casting Quinn. Chris Moore points out the importance of the planning stages of the movie. "If you're bad at pre-production," he says, "it's a disaster." The mother role in the film still has not been cast, but Jones has a good meeting with Marg Helgenberger (CSI: Crime Scene Investigation), and wants her for the role. He has to get approval from Quinn, who seems hesitant about it. As Jones describes it, Quinn is concerned that Helgenberger looks "too Californian." Quinn arrives at the production office, and asks for copies of the continuity breakdown and the wardrobe breakdown. He seems ready to take a very active role in the production. He explains that he doesn't really trust the filmmakers to do it right. He has a meeting with Jones and Kevin Pollak, another cast member, in which he asks Jones a lot of questions about his character's background. Pollak is amused by Quinn's thoroughness. "Whatever his backstory research crap is, it so works for him," he says. Jones meets with the young actors who will be playing the lead roles in his film, Adi Stein and Mike Weinberg. As the first day of shooting approaches, Helgenberger, upset that the production does not seem willing to meet her scheduling demands, passes on the project. About ten hours before shooting begins, they scramble to secure the services of Bonnie Hunt. ~ Josh Ralske, All Movie Guide

Stolen Summer
Pete (Adi Stein) is an eight-year-old Catholic boy growing up in the suburbs of Chicago in the mid-'70s. Pete attends Catholic school, where as classes let out for the summer, he's admonished by a nun to follow the path of Lord, and not that of the Devil. Perhaps taking this message a bit too seriously, Pete decides it's his goal for the summer to help someone get into heaven; having been told that Catholicism is the only sure path to the kingdom of the Lord, Pete decides to convert a Jew to Catholicism in order to improve their standing in the afterlife. Hoping to find a likely candidate, Pete begins visiting a nearby synagogue, where he gets to know Rabbi Jacobson (Kevin Pollack), who responds to Pete's barrage of questions with good humor. Pete also makes friends with the Rabbi's son, Danny (Michael Weinberg), who is about the same age; when he learns that Danny is seriously ill, he decides Danny would be an excellent choice for conversion. When the priest at Pete's church (Brian Dennehy) informs Pete that all will be tested before they pass the Pearly Gates, he sets up a mini-decathlon and puts Danny in training as he attempts to reshape his spiritual thinking. Pete's parents (Bonnie Hunt and Aidan Quinn) aren't sure just what to make of Pete's new summer project, and as they become aquatinted with Rabbi Jacobson, they share their perspectives on the unexpected trials of parenting. Stolen Summer received more than its share of pre-release publicity; writer/director Pete Jones' script was the winner in a nationwide screenwriting competition sponsored by producers Ben Affleck and Matt Damon, with Miramax Pictures pledging a one-million-dollar budget and a theatrical release to the winning story. As part of the deal, the production of Stolen Summer was documented by a film crew from the premium cable network HBO, who aired a documentary miniseries about the making of the film, Project Greenlight. ~ Mark Deming, All Movie Guide

Version Details

Languages/Sound

Eng

Screen Formats

Enhanced Widescreen for 16x9 TV

Additional Features

Audio commentary featuring director Pete Jones, producer Chris Moore, and co-producer Jeff Balis Theatrical trailer Deleted scenes with commentary by Pete Jones and Jeff Balis Pete Jones' "Project Greenlight" Scene vs. the Final Film Jump to scene feature All-new footage from the "Project Greenlight" contest: notable filmmaker videos, top 10 filmmaker videos, top 10 3-minute scripted scenes Special features from Project Greenlight.com: The Chris Moore Challenge, How to Imitate Chris Moore by Ben Affleck, top 25 Chris Moore Challenge finalists Additional footage from the "Project Greenlight" series Inside a press junket Crew profiles The post-production experience Pete Jones at the Sundance Film Festival Pete Jones gets advice from Kevin Smith The "Project Redlight" spoof Extensive DVD-ROM materials

Series

Collector's Series

Chapters

Side #1 -- Stolen Summer
1. Opening Credits: The Path to Heaven
2. Embarking on a Quest
3. "Advertising Thought"
4. Chasing Fires
5. Parenting 101
6. Lasagna and an Invite
7. Work and Worth
8. Planning the Conversion
9. "More Questions Than Answers"
10. The Beach
11. Being a Boy
12. Praying for Danny
13. Charity or Kindness?
14. Finishing the Decathlon
15. Mom's Nose
16. A Father's Pride
17. Danny's Medal
18. Symbols of Faith
19. End Credits
Side #2 -- Episodes 1-6
1. Opening: "What Is Project Greenlight?" [3:05]
2. "Winning the Lottery" [3:53]
3. The Top Ten [5:08]
4. Deciding on the Final Three [7:31]
5. Announcing the Finalists [5:24]
6. "Time to Win" [3:10]
7. End Credits [:30]
1. Opening: Pitching the Scripts [7:06]
2. Deliberations... [6:02]
3. "It's About Making the Best Film" [5:19]
4. "Greenlight or Bust" [3:31]
5. Announcing the Winner [6:06]
6. End Credits [:30]
1. Opening: The First Day of Work [2:21]
2. "Everything You Write Has a Cost" [5:40]
3. Enjoying the Hype [2:58]
4. Battles to Be Fought [4:59]
5. Casting Confusion [6:19]
6. "Arguments of Style" [3:53]
7. End Credits [:30]
1. Opening: Bad News [3:30]
2. A Staunch Budget [3:10]
3. Straight to the Big Man [10:16]
4. Concessions for Aidan [4:50]
5. Waiting for Answers [4:56]
6. End Credits [:30]
1. Opening: Off to Chicago [3:54]
2. The Importance of Preparation [3:19]
3. Wardrobe and Rehearsals [4:10]
4. The Roller Coaster of Filmmaking [6:03]
5. Unwanted Tension [5:04]
6. Reading the Script [4:07]
7. End Credits [:30]
1. Opening: Being "The Man" [2:13]
2. "Making the Day" [6:55]
3. Too Many Cooks? [5:25]
4. "One Percent Hope" [9:06]
5. Chris Comes to Town [2:19]
6. End Credits [:31]
Side #3 -- Episodes 7-12
1. Opening: Too Many Variables [8:50]
2. Chaos on the Shoot [3:33]
3. "Over My Dead Body" [6:46]
4. Sabotage the Shot? [7:21]
5. End Credits [:31]
1. Opening: Shooting in the Rain [8:05]
2. Getting Wet [6:05]
3. "The Dumb Quotient" [3:59]
4. Politics, Power and Potential [5:31]
5. Shaking Things Up [3:56]
6. End Credits [:31]
1. Opening: Betrayed and Confused [6:34]
2. Burning Down the House [6:42]
3. Fires on the Set [9:50]
4. Slightly Singed [5:21]
5. End Credits [:31]
1. Opening: Shooting Reality? [3:31]
2. An Unmade Day [4:39]
3. "The Nature of the Beast" [7:03]
4. Sink or Swim [5:34]
5. The Beach [5:11]
6. End Credits [:30]
1. Opening: Prepping the Beach [4:27]
2. "Magic Hour?" [13:17]
3. "That's a Wrap!" [5:16]
4. "How Good It Can Be" [3:22]
5. End Credits [:31]
1. Opening: "Cutting Kills" [8:31]
2. To Reshoot or Not to Reshoot? [6:44]
3. Screening Stolen Summer [7:41]
4. A Happy Ending [3:55]
5. End Credits [:31]

Project Greenlight [4 Pack Collector's Edition]: AMG Review
AMG

Includes:

Project Greenlight: And Then There Was One (2001)

Project Greenlight: Pete Goes to Work (2001)

Project Greenlight: Ben Calls Harvey (2001)

Project Greenlight: One Down, 24 To Go (2001)

Project Greenlight: Tightening the Reigns (2001)

Project Greenlight: The Big 'Dance (2001)

Project Greenlight: Take Me Out to the Ballgame (2001)

Project Greenlight: Life's a Beach (2001)

Project Greenlight: It Hits the Fan (2001)

Project Greenlight: Avoiding the Fire (2001)

Project Greenlight: Sweet Home Chicago (2001)

Stolen Summer (2002), MPAA Rating: PG

Project Greenlight: And Then There Was One
No reviews available.

Project Greenlight: Pete Goes to Work
No reviews available.

Project Greenlight: Ben Calls Harvey
No reviews available.

Project Greenlight: One Down, 24 To Go
No reviews available.

Project Greenlight: Tightening the Reigns
No reviews available.

Project Greenlight: The Big 'Dance
No reviews available.

Project Greenlight: Take Me Out to the Ballgame
No reviews available.

Project Greenlight: Life's a Beach
No reviews available.

Project Greenlight: It Hits the Fan
No reviews available.

Project Greenlight: Avoiding the Fire
No reviews available.

Project Greenlight: Sweet Home Chicago
No reviews available.

Stolen Summer
Viewers in search of rookie gaffes will be disappointed by Stolen Summer, the even-keeled outcome of Miramax's experiment in cinematic wish granting, which formed the basis of the HBO reality show Project Greenlight. Unfortunately, most others will be disappointed by it, too. Neophyte director Pete Jones can finally take the chip off his shoulder; his contest-winning script and hours of high-profile humiliation have actually culminated in a watchable film. But Jones' tidy efficiency is both a strength and a drawback. On the one hand, it proves him able, but on the other, it gives the world a pretty dull and diluted tale of religious soul-searching in the suburbs. Though it's impossible to judge their performances in a vacuum, understanding that they fell somewhere between volunteers and guinea pigs, the guest actors (Aidan Quinn, Kevin Pollack, Bonnie Hunt) seem imperceptibly bored and embarrassed by their involvement. The subject matter itself is hardly vanilla; in fact, the idea of a young Catholic on a mission to convert Jews might be downright inflammatory. But in the carefully modulated hands of producers Matt Damon and Ben Affleck, Jones' story is decidedly toothless. Instead of brazenly challenging norms, they settle for a slice-of-life indie feature with the humdrum rhythms of an after-school special. One almost wishes Stolen Summer had ended up outrageously flawed -- then at least it might have found life as a cult curiosity, instead of an irrelevant and largely unseen footnote. ~ Derek Armstrong, All Movie Guide

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Project Greenlight [4 Pack Collector's Edition][Collector's] - DVD

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