Small time crook John finds an unlikely accomplice in Louis, a newly-orphaned teenage boy. As their open-road adventure progresses and John drags the kid on a string of robberies, the pair forge an unexpected and powerful bond.
Despite some scenic territory, there's just not much to this journey, leaving "Lost in the Sun" feeling like a short story stretched way too thinly toward feature length.
A monotonous bore. Lost in the Sun clearly thinks it's saying something profound, but what it says has been said before, many times, in much better pictures.
Remove the charm and the Depression-era aura from "Paper Moon" and you have "Lost in the Sun," a road movie that goes nowhere particularly interesting.
Never developing into unabashed antagonism, the perpetual push-pull of Louis and John's relationship ended up being both totally organic and refreshing.
"Lost in the Sun" is a technically proficient but achingly typical gloomy southern crime drama, one that audiences can seek out if they exhausted every other similar film.
Admirably performed and skilled at detailing Texan expanse, the feature manages to hit the heart when it counts the most, carrying a promising amount of concern for its characters.
At every minute in this film, you know where it's going, because nothing that happens in any of the 130 minutes of this film works at all if the movie doesn't get there.
Duhamel and Wiggins unfortunately don't have the kind of Paper Moon chemistry that could have helped gloss over some of the harder-to-swallow plot turns.
Thanks to the excellent if a little on the obviously-pictorial-side cinematography by Robert Barocci, you've seen some lovely vistas on the way to indifference.
