The interest stirred by location shooting in and around Katrina-wrecked New Orleans is deadened by the limp narrative it's tethered to in "Low and Behold."

The interest stirred by location shooting in and around Katrina-wrecked New Orleans is deadened by the limp narrative it’s tethered to in “Low and Behold.” Ponderous drama is one part well-shot docu capturing hurricane destruction and survivor testimony to two parts fictive bore with annoying characters embroiled in underdeveloped conflicts. Stateside fest dates aside, prospects will surely be waterlogged.

Young Turner (Barlow Jacobs) drives from the north to New Orleans in order to work with Uncle Stully (Robert Longstreet) as an insurance adjuster gauging the claims of residents whose homes have been damaged or destroyed by hurricane. It’s not a pleasant job, and Turner isn’t very good at it. Things go better once he gains an uninvited “partner” in gregarious Nixon (Eddie Rouse), who tags along claiming he wants to tour the area for a lost dog. Nixon’s tragic truth is predictable; young lead’s disharmony with loud, loutish Stully is just irksome. Draggy progress is not helped by Jacobs’ blank performance, though to be fair, both he and Longstreet are seen to better advantage in concurrent Sundance feature “The Great World of Sound.”

Low And Behold

Production

A Sidetrack Films and Blindwall Pictures production. Produced by Sarah Jill Hendler, Barlow Jacobs, Cully Johnson. Executive producers, Ravi Anne, Jared Moshe. Directed by Zack Godshall. Screenplay, Godshall, Barlow Jacobs.

Crew

Camera (color, Sony HD), Daryn DeLuco; editor, Travis Sittard; production designer, Matt Munn. Reviewed at Sundance Film Festival (Spectrum), Jan. 23, 2007. Running time: 90 MIN.

With

Barlow Jacobs, Robert Longstreet, Eddie Rouse.

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