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Closed Caption; Feature commentary with director, producer and editor; The Making of An Unfinished Life; Training Bart the Bear; Still gallery
Full Product DetailsDisc #1 -- An Unfinished Life
1. "We're Going to Wyoming" [7:27]
2. A Place to Stay [5:57]
3. Caretaking [6:12]
4. Breakfast in Town [3:26]
5. "That Was My Bear" [5:26]
6. Working Folk [5:18]
7. Accidents [5:30]
8. Getting Along [7:42]
9. Interesting Company [9:49]
10. The Errand [4:23]
11. "I Killed Griffin" [4:45]
12. "I Want to See the Bear!" [7:43]
13. Mitch's Emergency [6:07]
14. "She's a Good Girl" [4:20]
15. Freeing the Bear [5:04]
16. Letting Go [5:55]
17. The Last of Gary [4:26]
18. Conclusion and Credits [8:00]
Based on a novel by Mark Spragg, this modest, unassuming little drama with a striking A-list cast slipped into theatrical release last year almost entirely unheralded, wowing neither critics nor moviegoers. Yet, An Unfinished Life’s merits were not lost on those who took a chance and discovered this well-made story of redemption and forgiveness. Robert Redford stars as a reclusive Wyoming rancher who ignores his spread and tends to his solitary employee (Morgan Freeman), who is crippled and in constant pain after being mauled by a bear that still roams the countryside. Both men are surprised by the unexpected arrival of the rancher’s daughter-in-law (Jennifer Lopez), whom the old man blames for the accidental death of his son a decade earlier. Upon learning that she and his granddaughter are trying to escape her abusive boyfriend, the rancher reluctantly offers them shelter -- and a long, slow healing process begins. Director Lasse Hallstrom (The Cider House Rules), an expert in the depiction of dysfunctional families, wisely allows his actors to define their characters with subtlety. Redford at times comes perilously close to turning his grizzled, bitter, taciturn old-timer into a caricature, but he always manages to pull back just in time. Freeman’s feisty sidekick is cut from familiar cloth, but that fine actor invests him with dignity and resolve. No less effective is Lopez, whose well-modulated performance belies her current reputation as a media-manufactured diva of limited ability. She’s capable of fine work, and that’s readily apparent here. Also worth mentioning is young newcomer Becca Gardner, who plays Lopez’s daughter beautifully and more than holds her own in scenes with old pro Redford. Ed Hulse, Barnes & Noble
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