Initially, she is certain of her power to do good, but Allison suffers a crisis of confidence when she suspects she's put the wrong man on death row. Devalos, who needs her help in selecting a jury who will return the death penalty for a twisted murderer/rapist. Push has a new respect for Allison and she makes a life-altering decision of her own.Īllison finally gets a call from her old boss, D.A. Kenneth Push, a cynical Texas Ranger who is suspicious of her psychic abilities. To his surprise, one of Allison's dreams bears an eerie similarity to a Texas homicide case involving a 17-year-old murder suspect. Johnson, Tim Macy, Ramaa Mosley, Gina ResnickĮditors: Phillip J.Hoping to prove to Allison that her dreams are stress induced, her scientist husband, Joe, sends descriptions of Allison's visions to a number of law enforcement agencies, expecting nothing to come of it. Production companies: Green Hummingbird Entertainment, Laundry Films, Variety PicturesĬast: Leven Rambin, Jim Parrack, Taylor John Smith, Landon Edwards, Toni Chritton Johnson ![]() But it’s not enough to make Lost Child more than a mildly intriguing curiosity. There is no fault to be found with the performers besides Rambin’s fine, intense work, Parrack delivers an appealing, low-key turn as the supportive Mike and Edwards, making his screen debut, reveals himself to be a promisingly natural child actor. Throughout the proceedings there are hints of the film that might have been, but every time it seems on the verge of being arresting, it pulls back, as if from fear of offending. Nor do the sociological themes have much impact, from Fern’s troubled youth to her obvious PTSD to the resolution of the boy’s mystery. The film’s screenplay, written by Mosely and Tim Macy (who previously collaborated on the equally quirky The Brass Teapot), flirts with supernatural elements but in an allusive, lackadaisical manner that produces no chills. She also crosses paths with her brother (Taylor John Smith) who accosts her, beats her up and tells her that he wants nothing to do with her. She eventually becomes aware of a local legend involving a “Tatterdemalion” an evil, life-draining spirit that comes in the form of a child. Fern finds herself becoming ill, her hair turning white and falling out. When Mike takes a picture of him, the photograph mysteriously disappears from his phone. That’s not the only strange thing about him. He urges her to take care of the boy until his relatives can be found.Ĭecil turns out to be remarkably resourceful, making dinner for Fern from two small birds he’s killed. They send a social worker, who turns out to be Mike. He has no explanation about his background or how he wound up in the woods alone, so Fern takes him home with her and contacts the authorities. When her dog runs off into the nearby woods, Fern follows him and encounters a shabbily dressed and strangely polite young boy (Landon Edwards) who informs her that his name is Cecil. ![]() “Not here now,” he informs her, adding, “He’ll be back before long.” The police officer in charge looks up his extensive petty criminal record. She adopts a dog from the local pound for “protection.” And she inquires at the local jail about her brother’s whereabouts. She has a one-night stand with a local bartender, Mike (Jim Parrack), who is clearly interested in seeing her again. Fern moves into the modest house once occupied by her late father, reconnecting with a neighbor (Toni Chritton Johnson) who knew her family well.
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