"Heavy" focuses on Victor Modino, an overweight, thirty-something cook who lives a quiet life running a roadhouse with his mother in upstate New York. His small world is turned upside down when Callie, a beautiful, kind young woman, comes to work in the restaurant. What ensues is a rich intersection of emotion, yearning, and ennui between the cast of characters running the establishment.

Perhaps one of the most underrated (and under-viewed) films of the 1990s, "Heavy" is a quiet, small film that pulls the emotional strings of the audience with a gentleness that is endearing and that manages to avoid erring into unabashed pathos. The protagonist, brilliantly acted by Pruitt Taylor Vince, is a man of few words, riddled with buried insecurity and social anxiety. Playing opposite Vince is a fresh-faced Liv Tyler, appearing as an unassuming, genuine young woman attempting to find her footing in the world. The emotional core of the film lay between these two characters, and both Vince and Tyler play them with precise skillfulness. Debbie Harry is equally impressive as a cynical longtime waitress, while Shelley Winters turns in a characteristically eccentric performance as the ailing matriarch of the restaurant.

What is perhaps most staggering about "Heavy" is that it rings eerily true to the locale in which it is set. The characters each feel like people we've seen in real life in anywhere, USA--small town ,working class people facing off their demons and failed aspirations. Director James Mangold (in his feature debut) captures a restlessness in each that is authentic, and the narrative is supported by atmospheric cinematography and a lush, sometimes unearthly score by Thurston Moore.

Some audiences seeking emotional (or literal ) fireworks may be bored to death by it, but for cinema lovers who appreciate character portraits and feelings of places, "Heavy" is an absolute gem. It's a quiet, small film full of quiet, small moments, but each of them have a ring of truthfulness that is difficult to ignore. Mangold manages to string these moments together with grace, leaving us an authentic, sparse narrative that still manages to uplift without drenching us in syrupy poignancy. Each of his characters, as embittered as they might be, are not entirely forsaken. 10/10.

I'm not sure what's more remarkable - the excellence of this movie, or the fact that it could have come and gone in 1995 with so little broad notice, then or in the years since. It's a quiet, uncomplicated film, with no great drama beyond what may transpire in the average person's life. Yet it's endearing in that simplicity, and a marvel in consideration of all the pieces that come together to produce it. 'Heavy' isn't a masterpiece, but it's a wonderful picture that deserves to be seen much more.

Just look at the names involved: A cast helmed by Pruitt Taylor Vince, Liv Tyler, Shelley Winters, Deborah Harry. Music by Thurston Moore. The first feature of accomplished film-maker James Mangold, as writer or director. Moreover, 'Heavy' got strong attention at major film festivals upon release, and it's no wonder why; for all the low-key modesty and the clarity of vision, this is a fantastic movie.

Major themes stand out of self-confidence, loneliness, depression, and unreciprocated affection. Well before obesity and fatphobia became hot-button topics, the film touches on these notions through the personal struggles of protagonist Victor (Vince). Through it all, there's no small sense of awkwardness as we bear witness to the character drama playing out. The end result is a picture that's pointedly uncomfortable, and somewhat difficult for that reason - yet all the more rewarding.

It's so entrancing that before we know it 'Heavy' is half over, then three-quarters. It helps that the cast is so outstanding. That goes for Harry, as Dolores, a woman tired of dealing with other people, and Winters, as Dolly, personable and forthright. Tyler, as Callie, demonstrates a nuance and range that other parts have not wholly allowed her to express. Callie is a complicated character, with a laundry list of personal issues that could be the basis for a feature film all by themselves, and Tyler manages that complexity deftly. Yet it's Vince, as Victor, who stars as a man silently at war with himself over his desires and perceived inadequacies. Vince contains multitudes in his unmistakable gaze, and communicates as much in his expressions if not more than in his dialogue. Commonly seen in supporting roles, it's good to watch him in the lead here.

Even given moments of sudden noise or emotional outburst, this is a film that's very subdued in tone, much more about the characters than a robust narrative, or technique. Yet in that focus it's easy to become absorbed with the marvelous screenplay Mangold concocted, and the scenes he orchestrates. One can see traces of his later films in the knack for personal crisis that he began to develop here, and it's a pleasure to watch.

Once more - I think this came and went with far too little fanfare upon release, probably in no small part on account of the filmmaker's lack of reputation at that time. That said, it's a mistake to not check out 'Heavy' now if one has the chance, because this is a superb drama filled with great character and performances, and I'd be hard-pressed not to recommend it to just about anyone.

Heavy is a film about sad and desperate people, all of whom seem to have nothing to look forward to. At the center of the film is Victor, played magnificently by Pruitt Taylor Vince. He's the cook at his mother's restaurant. Victor goes about his job and life almost mechanically, he rarely say a word and his movement is limited. Until a couple of major event in his environment happens. One the hiring of a beautiful young waitress named Callie(Liv Tyler) which represent to Victor something wonderful and unattainable. Yet it gives him hope for his empty existence. The second major event is tragic, yet Victor hides it from everyone around him because he wants things to stay the same. He has no sense of what else is there for him. Yet this event might give him the opportunity to go out and see what's beyond the front door of his mom's restaurant. The final reel shows that whereas the other character's lives seem to be continuing the same pattern of sadness and despair. Victor might try to move on with his. Particularly his interaction with a convenience store female clerk with whom he's never spoken to before. It's not much but it's a start.