Generally favorable reviews - based on 15 Critics What's this?

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Generally favorable reviews- based on 4 Ratings

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  • Summary: Executive produced by Terrence Malick and Robert Redford, this 2008 Independent Spirit Award winning-documentary tells the story of a Texas real estate developer who enjoys meteoric success until an environmental movement and the S&L crisis threaten to undo his plans. In an era of rising home foreclosures, failing financial institutions and profound uncertainty about the future, this film prompts viewers to both reexamine the American Dream as well as their own definitions of what it means to truly grow. [The Cinema Guild] Collapse
Score distribution:
  1. Positive: 13 out of 15
  2. Negative: 0 out of 15
  1. Reviewed by: Ken Fox
    Dunn's elegant, full-length debut presents a frightening and powerful argument against the kind of reckless, profit-driven land development that not only threatens natural resources, but life itself.
  2. 100
    One of the most extraordinary accomplishments in recent American nonfiction filmmaking. It hits hard as to facts, and opens its eyes to inexpressible mysteries. It strikes a clear moral and philosophical stance, and then -- as part of that philosophical stance, actually -- reveals its villain as a tragic and sympathetic figure.
  3. Reviewed by: Robert Koehler
    Observing locally and thinking globally, Laura Dunn's astonishing debut doc feature The Unforeseen is the kind of transformative viewing experience that has made the current period a golden age for nonfiction film.
  4. Add The Unforeseen to the catalog of artfully produced nonfiction films that show how humans are screwing up the planet.
  5. What's unforeseen in Unforeseen, a superior documentary by Laura Dunn, are the consequences of a certain mind-set about mankind's relationship to the world and, finally, to itself.
  6. An unusually poetic and meditative eco-themed documentary, Laura Dunn's The Unforeseen is as beautiful as it is ultimately depressing.
  7. Reviewed by: Ty Burr
    The film's case against overdevelopment needs to be, and could be, aggressive, airtight. It should play to the unconverted. Instead, The Unforeseen gives us . . . poetry.

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