New, personal voices are far too infrequent in cinema, and odder still is that one finally comes along from, of all things, a sitcom. Zach Braff, star of NBC’s Scrubs, adds depth to his aw-shucks persona in GARDEN STATE, his writing/directing debut that garnered huge buzz at 2004’s Sundance festival. Unlike many films the small Utah community has embraced, GARDEN STATE lives up to the hype to such a degree that it causes one to sit up and take notice.

Simultaneously quirky and mainstream, Braff has delivered a thoughtful art film with universal appeal. The film opens decidedly off-balance, jarring moments together that are stark, dreamy and slightly weird. Even so, the context is quickly established: a tragedy has occurred in Andrew Largeman’s (Braff) family, from which he has been estranged for nearly a decade. Compounding the cold emotions is Andrew’s near-catatonic conscious state, a result of a lifetime on various emotion-curbing meds. His trip back home to New Jersey causes Andrew to face harsh realities—the biggest of which is life itself—for the first time.

I know—you’ve seen that one before. So have I. Yet while not mining the material in a wholly original fashion, Braff doesn’t fall into that formula’s regular traps—narratively or emotionally. Very little of Garden State, in fact, is plot-driven. Not a whole heckuva lot actually “happens” through the course of the story, one that is mostly composed of various conversations and arbitrary events. Sounds dull, I know, but Garden State is anything but. Indeed, not only is it immensely entertaining but it also engages on deep and occasionally profound levels through the things these people say, reveal, and learn—or don’t, as the cases may be.

GARDEN STATE is, subsequently, very character-dependent; fortunately, it delivers some of the most fascinating ones of the year. Andrew’s drug-induced malaise serves as a compelling metaphor for most of us to some (if not great) degree, not to mention the issues he’s buried. His friends—most who suffer from a drug-induced state of a more illicit nature—offer their own metaphors for different life paths chosen, or settled for (Shattered Glass’s Peter Sarsgaard is a hilariously jaded highlight). Featured roles are also peppered throughout, providing entertaining cameos that still work at getting to the heart of matters. "

So balanced is the ensemble that rarely does one actor steal scenes from the others. Rarely, that is, except for Natalie Portman. My God, is this woman talented. With wild charisma, infectious charm, and throat-lumping vulnerability, Portman is simply spellbinding. As a director, Braff has pulled out her most stunning performance since Ted Demme’s 1996 Beautiful Girls. But one senses from Portman’s complete ease and abandon that all Braff had to do was let her go and do her thing. More directors (George Lucas) should do likewise and let the world see the breadth of this woman’s seemingly limitless abilities.

Braff’s screenplay is a perfect study in how a writer balances the delicate line between communicating views, themes and conclusions without ever preaching. Braff deftly avoids Author Intrusion by understanding how to imbue his ideas into the fabric of his characters rather than forcing them to spout what he wants to say. This insightful first-effort knows how thoughts are revealed through conversation and human experience as opposed to abruptly pausing them to make a point.

It’s not just the characters, though, that flesh out the film’s casual narrative. GARDEN STATE is a film of striking artistry and, for a first-time director, Braff’s accomplishment warrants our attention. Bold ideas are not restricted to the films themes; they are equally inventive in artistic execution. From contrasting tones credibly married to imaginative visuals stunningly crafted, this is an assured vision impressively realized. Braff confidently stakes a claim among film’s brightest new talents; one can only hope his next summer break from Scrubs will result in what will certainly be a highly-anticipated sophomore effort.

To hear its story and style described, GARDEN STATE sounds like a classic first-stab by a pretentious film school grad, and admittedly a couple mini-speeches flirt with that very tone. But each moment is so heartfelt, delivered with such conviction and humility, that the material resonates with a sincerity that borders on autobiographical. I couldn’t tell you what elements, if any, Braff has pulled from his own life, but there’s little doubt that the essence of them all will register with your own. It’s a film about looking at your life, taking stock, and having the guts to leap forward even if you don’t have all your shit together. That GARDEN STATE inspires us to do the same means that its cinematic value, no matter how worthy, is hardly its greatest.

-- Jeff Huston

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