User Reviews

I saw this film today with my friend, and although neither of us have any experience with community theatre (little of that here in NYC), we found this film to be quite charming and enjoyable. Yeah, sure, it could have used a little editing, but the actors are engaging, the dialog is humorous, and the relationships of the characters, though sometimes a little clichéd, have an underlying authenticity. Community theatre is portrayed not as the graveyard of failed actors, but as a community where talent and friendships are nurtured without regard for money and advancement. And, unlike the first reviewer, I thought the acting was quite good. My friend and I especially enjoyed the twin parts played by Patty Duke, since we're both old enough to remember her dual role on her TV show. See this movie if you're tired of blockbuster, sequels, and star vehicles.

"Bigger Piece of Sky" is a sweet little movie about why people do theater, specifically community theater as "let's put on a show"-ism in its purest form. It cheerfully embraces the clichés of theater folk to go beyond them to understand the people within.

Our entrée to their world is a sad sack who makes his way into the local troupe therapeutically to get out of his depressed lonely doldrums after being dumped by his girlfriend. The actor who plays him is a bit problematical, in that he really does seem like an amateur, particularly as he is surrounded by pro's John Corbett, Amy Smart and Sean Astin having a rollicking good time. It does seem like the editing has to create the illusion that he's rising to the occasion for the climax.

I've had a soft spot for Edmund Rostand's "Cyrano de Bergerac" ever since I read it in high school, so I'm sympathetic to how it is used throughout the movie for its symbolism about panache, using another's words to express one own's inarticulate feelings, and the liberation of pretending to be someone else. The theme is also exuberantly updated to role-playing games as another outlet when even the stage isn't enough.

It was refreshing that a character who is ill doesn't seem to have the usual movie star disease but actually shows some effect of the illness. While we only learn about the non-stage life of the central character, so we have no idea what the other participants do in their "real" lives, it is successful at demonstrating the truth behind the song that show people are the best people to know.

While the quote that is the source of the title goes by very quickly, the dialog has cheerful good humor and gentle laughs and the plot turns enough not to be predictable.

The Portland locations are used very well, particularly of an old theater.

It is a cute joke that Patty Duke plays twins, which will lead to baby boomers in the audience humming a certain TV theme song on the way out.

My friend and I traveled pretty far out of our way to see this film, mainly because (a) the mainstream films that are being released fairly suck, and (b) she is visiting from Atlanta and misses a lot of indie films we get to see here in L.A.

This film made us laugh, and moved us (if only a little) and is a nice little film to see.

No, the cinematography is no great shakes and I really worried whether the lead actor could actually pull off "animated" or "alive" at any point in the movie - he barely pulled it off (if you close your eyes and wish really hard).

Still, it is nice that a small, sweet film like this can move the audience and make us laugh and think.

John Corbett is great in this (as always), and it's nice to see Sean Astin (a favorite of mine) being less than earnest (he's really an ass in this role).

Worth a look.

Peter (Marcus Thomas) has just received a letter from this girlfriend, explaining why she has fled the relationship. It hurts. Although Peter has a successful job as an art director for a thriving company, he knows he needs to broaden his horizons. Therefore, when he spots an ad for community theater auditions, he signs up, hoping for a small role. But, no, he gets chosen to play the lead in Cyrano de Bergerac! Can he do it? The other theater people, including Michael (John Corbett) and Grace (Amy Smart), are so talented, how can Peter measure up?

Thomas does a fine job as the newcomer to theater, and really, to life. Patty Duke is also quite engaging as a grumpy theater support staffer. But, ah, Corbett and Smart. John Corbett has never been more attractive or seductive as in this role and Smart is beautiful and bubbly. They are, in this viewer's opinion, the main reasons this film works so well. Costumes, plot, and the Portland scenery are fulfilling, also. For those who love ensemble movies with engaging dialogue, romance, and lessons in life, this one is your cup of tea. Drink it slowly, with savor.

This could have been a decent movie, but the lead actor is SO bad. He's surrounded by Patty Duke, John Corbett, Amy Smart, and Sean Astin. Yes, he's supposed to play a character who decides to try his hand at community theatre despite never having acted. But the problem is Marcus Thomas can't act at all. He is painful to watch. At least the other actors make it worthwhile. It's especially fun seeing Patty Duke deliver insults to her real life son Sean Astin's character.

While discussing this earnestly contrived comedic melodrama that he scripts and in part produces, Michigan playwright Rodney Vaccaro states that the scenario results from a reaction to the "9-11" occurrences, and that his intention here is to create a romantic detailing of events that will provide a storyline antithetical to the violence that marbles our lives, while including his fondness for community based non-professional theatre as apt background for the narrative. Peter Rucker (Marcus Thomas), a graphic designer with a marked personality deficit, is attempting to reconstitute his life after his girl friend has left him, doing so primarily through reading of self-help books, but is additionally attracted by a community theatre near to his place of employment that is advertising its auditions for Edmond Rostand's Cyrano de Bergerac, and since Peter's freshly imposed solitude has resulted in a surfeit of free time during his evenings, he determines to try out for a small part in the classic play. Although totally lacking stage experience, or even middling innate Thespic ability, the play's director has "seen something" in him and Peter is unaccountably selected, not simply as a member of the cast, but as Cyrano, the lead! Another member of the cast, Mike Degan (John Corbett), a very much experienced player, designates himself as Peter's mentor both during and between rehearsals; however, when Rucker begins to dally with Degan's former lover Grace (Amy Smart), the play's Roxanne, partly due to Mike's urging, the latter begins to resent his protégé, weakening their bond, and this, in addition to unforeseen difficulties in mounting the production, must be rectified before the looming opening night performance. Unfortunately, the film itself has troubles as well, and they are but seldom solved. First-time director Al Corley permits the action to meander, with fifth-billed Thomas, fresh-faced but largely unskilled, a less than engaging Peter Rucker who is, near the film's end, abruptly replaced by first-billed Corbett as linchpin of the story, ratified by his ongoing connections with all of the other principals. Although Peter is found to be completely inadequate as the featured performer, he quaintly is called upon to save the production after a newly appointed Cyrano becomes unavailable, an unconvincing gambit for one who, in reality, is only suitable for tech support or as a supernumerary. In spite of these factors that weaken the piece's credibility it, ostensibly shot in Portland, Oregon, provides a pleasing quality of fellowship evidenced within its small community theatre group, and it treats of many standard stage related elements, both technical and non. The film's most striking sequence is a splendidly realised ending that obviously was in the van of Vaccaro's creative impulses here, its preceding scenes for the most part subsequently crafted. Originally named CAUGHT IN THE ACT, the production had to relinquish that title as it had been allocated elsewhere. Although its box office take was low, a genuine affection for theatre is communicated throughout, and there is some rewarding conceptualization within Vaccaro's often literate screenplay, such as when the play's director, played by Clare Higgins, insists upon eschewing the work's customary emphasis upon Cyrano's proboscis in favour of an examination of his marrow. Even though Corbett is given a misguided rant in one scene against the plays of Shakespeare, he handily wins acting honours. Other meritable turns are to be enjoyed from the perfectly cast Higgins and her countryman Allan Corduner, who is given free rein. Patty Duke enjoys herself in a dual role, and Smart, who as an actress is an attractive young blonde, also enjoys herself. In sum, then, this is a blemished but yet pleasing tribute to all community theatre associations that, in words from Rostand, "work without one thought of gain or fame."

...you won't appreciate this film for what it is. It's a small film about people who love theatre and art, for people who love theatre and art. If that's not you, don't bother. And especially don't criticize. I don't watch horror films or blockbuster action flicks because I know I'm not going to like those genres. If you don't like small, character-driven films centering around life in the theatre, don't watch this one. It's that simple.

That being said, there's so much to like about this little movie. Memorable dialog, nice acting work, emotional depth, and some dead-on characterizations of theatre people. I liked these things about this movie, so I enjoyed this movie. Pretty simple, really.

BIGGER THAN THE SKY has the feel of an Indie that was made out of a lot of love and commitment from all concerned. That's a good thing, but at the beginning of this little film the viewer questions whether or not the actors can make the story fly - and if you actually want to take the trip with them. But stick it out because a sound film well made rewards the hesitation. It is a 'little man finds his way' tale that makes good sense and provides good entertainment.

Peter Rooker (Marcus Thomas) is in a depressed slump after his girlfriend has dumped him. He is a 'cellophane man' computer artist, living the solitary life, noticed by no one, longing for a feeling of belonging. The place is Portland, Oregon. Peter notes the posting of auditions for a Portland Community Theater production of 'Cyrano de Bergerac' and slowly decides to attempt a moment of belonging by auditioning for the play: if he could just land a small part at least he'd belong.At the auditions he meets the warmly friendly theatrical group: Michael (John Corbett) who is a fine actor with no sense of future, Grace (Amy Smart) a pretty young sprite and competent trouper, director Edwina (Clare Higgins) who is a true theater person preferring to unmask the real Cyrano rather than hide him behind the infamous nose, sassy costumer Mrs. Keene (Patty Duke), and theater founder and adviser Kippy (Alan Corduner) who has retired from the theater due to his progressive cancer.

To everyone's surprise, especially Peter's, Peter lands the title role of Cyrano while Michael becomes Christian and Grace becomes Roxanne. Edwina's faith in the audition honesty of Peter has bolstered her own commitment to her dreams and she works with the cast to mold this very inexperienced (read lousy) actor into the tough role of Cyrano. Peter finds joy in the camaraderie of the actors, and for the first time in his life he becomes a social person. As the play is rehearsed Peter and Michael and Grace become a misguided trio - Peter does not understand the promiscuous life of the actors - and when Peter loses his job because of his increased involvement in the theater, he is informed that Edwina is forced to replace him with a seasoned actor Ken Zorbell (Sean Astin) at the 13th hour.

As good comedies go there are unexpected turns of events at every level of the remaining time until the opening night and the ending results in the personal growth of each of the actors and company. There are some well-drawn performances from John Corbett, Amy Smart, Clare Higgins, Patty Duke (in two roles), Alan Corduner, and ultimately Marcus Taylor (he is so convincingly an untrained actor at the beginning of the film that the audience will think he is wholly without talent!). Director Al Corley keeps the community theater magic alive and Rodney Patrick Vaccaro's script is sparkled by incidental quotes from Rostand's play. And to sum up the final product of the film in Cyrano's word, it has 'panache'. Not a great film, but a warm little story that examines the lonely lives of people who need the stage of a community theater to find themselves. Grady Harp

I personally did not like this film as the acting,with few exceptions was stilted and very poor quality. Jeff Corbin being the main exception.Also I think the audience for this is extremely narrow due to the generous sprinkling of "Theater language"and inside jokes.The only audience I could see that might enjoy this film are those who have participated in community theater themselves and are familiar with the terminology and get the jokes. In all fairness there was a group in the movie house that seem to get it and were laughing often but since this was a movie shot locally and many of the attendees were actually in the movie that may account for it. I , however,felt like I was watching poor community theater. I went to film invited by my niece who was an extra and got to see her three times which I am sorry to say were the most exciting parts of the film.If the family hadn't been there I probably would have walked out out of sheer boredom. Save your money. Hate to be so harsh but it really was an endurance test.

I am shocked that *anyone* is praising this film. This is a classic example of what happens when actors with real potential (proved or otherwise) work with an obviously terrible director and editor.

On watching this film (can we actually call it that?) I got the distinct impression that somehow all of the "good takes" of scenes intended to go into the final cut got lost in a fire... so the editor and director tried to make a movie out of the takes originally destined for the trash (not even the cutting room floor).

For a while, I actually thought that (perhaps) there was a method to the madness. I thought that somehow the director was trying to create a metaphor using the bad acting (on screen) to correlate to the acting struggles with the main character.

No such luck.

The cast reads like a "who's who" of strong younger actors who have proved their meddle in other films. I can't imagine any of them viewing this movie and thinking that their work has been done justice in post - production.

What's terrible about all of this is that the screenplay appears to have had potential. Further, many of the production elements are very good (the DP was clearly a pro...music and sound all well - done...and, as I've mentioned, the actors clearly weren't to blame).

For anyone contemplating a career in film, this is an excellent study... of what *doesn't* work. For aspiring directors, watch each and every scene and ask yourself "If I could shoot that, how would I try to coach the actors into creating a better scene". For aspiring editors, this is an opportunity to see how proper cutaways (for example) can save a "1/2 good" scene from becoming "all bad"...and so on.

I honestly wish that someone (else) would shoot this screenplay. Heck, even use the same cast... just get someone who knows how to make performances look (somewhat) real and someone who knows how to cut images together so that we believe what we are watching.

It's usually true that a good story can overcome bad photography (not a problem here), dialog, and even acting (with good editing). This is a classic example of a case where obviously poor directing can kill this apparent truth.

Okay, I was surprised, and surprised. This movie was a bargain basement DVD for me purchased together with a number of formerly unknown titles by moi.

I had zero expectations having only purchased the title based on curiosity of John Corbett's career having seen Joel Zwick's 'Big, Fat' and 'Elvis Has' movies - both of which had an Indies feel, and John Corbett was pretty much John Corbett. He seems to be good at anything and brings confidence to his role and a certain charm that his audience enjoys. The first surprise for me was that the actors and the characters fit the story seamlessly, the plot actually worked, the editing must have worked because I felt a constant flow to the plot from beginning to end. That was nice.

The second surprise was the storyline itself. I don't think this is a spoiler, I'm not going to reveal the plot here but rather the idea, which I liked very much: This story is driven by the word panache (you can look it up) and panache is symbolized and referred to at various points in the storyline - but the story is Cyrano. The cut-and-dried casual first-timer (Marcus) is actually Cyrano metaphorically. The characters played by John and Amy actually are Christian and Roxanne. But, we don't know this as we are introduced to seasoned actors in community theater. We see instead the acting process in brief play-by-plays from introduction to opening night. We are given a hint by the 'director' of this 'stage production' that the nose itself is only a metaphor for the social limits of the man, and finally, we see the courage of the man himself as he leaves his misunderstood cocoon to be a Peter Rucker that he really was inside, just as we are treated to Cyrano's death scene and implied metamorphosis. And, I think that was brilliant.

Full points for the cast, full points for the director, and full points for who ever developed that story!

I cannot fathom how 41% of the people who saw this movie rated it a 10. That fact makes me sad to share the same chromosomes as other humans. This is literally the worst movie I've seen in over a year. The acting is great, if you think that playing a guy down on his luck and socially inept should imply probable autism or some other mental disability. After 5 minutes of dialogue, it is clear that this movie is going no where, fast. The dialogue is forced and ridiculous - and as far away from believable as possible. The only reason I saw this movie was because it is based in Portland, where I live. More suitable casting might have entailed the man who played Corky on TV's "Life Goes On." No, I'm serious.

One of the worst movies I've ever scene. The acting of the main character was cringeworthy and awkward but not in an endearing way. Instead of coming off as home grown and domestic, the set just looks cheap. The direction is awful. The absolute lack of emotional range any of the characters had made it so disjointed. I remember we had this on DVD from a dollar store and my mom used to play for background noise. Sometimes the nasally echo of the characters saying "panache" way too many times; rings in my ears at random times. Just the most boring and bland movie I've seen yet. Apparently, theater buffs love it.

Saw this interesting film the other day and I would recommend it! Interesting story set in Portland Oregon. Any theatre buffs would love it. The only negative comment I have is the darkness of the film! Director,Where are the lights? Patty Duke looks great and plays twins again! Really touching ending! Hope that this film gets national release! The theatre I saw it at did not even have an accompanying poster advertising the film.Sean Astin plays a small part in the film. I was wondering if this was the first time that mother and son had appeared together on screen?Check your local newspaper for this film!If you love the theater you will love "Bigger Than The Sky".

I really liked and enjoyed this movie - it's one of those very good low key movies like "Noel". Marcus Thomas has been a favorite of mine since "Cowboy Up" (a film that shows off his range a lot better than this), John Corbett is a helluva character actor, and Amy Smart was excellent. Patty Duke was absolutely great - I could go on and on - I really enjoyed Sean Astin, Claire Higgins, and Allan Corduner. I haven't seen too many critics appreciate this film - basically, they all say "it's all been done before". Well, that may be true, but seeing somebody else do what's been done can be entertaining also. I always gage a film by how much I like and pull for the characters - this one hooked me pretty quick.

Forget King Kong and Crash. This movie is last year's real treasure.

I bought the DVD because I've become a big John Corbett fan after watching Sex in the City reruns. He raises the level of everything he's in and I've never seen him in anything really bad. Okay, I did see him in "Elvis Has Left the Building," but his performance and Kim Bassinger's almost saved that movie.

I watched "Bigger than the Sky" and was totally moved to tears and laughter. I watched it again the next night with my wife and 11 year old daughter and we were all moved. It is a really beautiful film that works on the level of the heart.

John Corbett, as I expected was absolutely charming as a talented and outrageous actor. I didn't expect everyone else in the cast to be as good, but everyone was. Marcus Thomas had a difficult lead role to play as a clueless guy who finds himself over his head in community theater. He was absolutely convincing, an academy award caliber performance. I don't remember ever seeing Amy Smart, but she gave as good a performance as Claire Danes did in "Shakespeare in Love." I have to check out everything she's done and will do from now on. Sean Astin was delightful as always. The actor and actress who played Edwina and Kippie were also terrific.

For those who remember the Patty Duke Show, this movie was like a super-episode of that show. Seeing Patty Duke playing twins again in this movie brought me back to my youth of 40 years ago. Truth be told I had a terrific crush on her and watching that show was one of the highlights of my week when I was 12 years old. The show had this incredibly positive liberal and liberating message. It was totally rock and rock and culturally subversive. Only the Dobie Gillis show (which also starred the wonderful William Shallert) was similar. It gave me hope for a positive world of peace, kindness, fair play, love and understanding. This movie brought back those feelings of hope for the future of the human race, something we can all use in these neo-fascist times.

I think anybody who has a good heart will love this movie, as well as anybody who has been connected with the theater in any way. Like "Stage Beauty" and "Being Julia" it is a hymn to the world of the theater.

I will say that I am easily entertained as far as movies go but I know a total crap film when I see one and this film was far from it! I picked this film up on a whim one rainy night in July 2005 because I really liked the actors on the cover--Amy Smart and John Corbett. When I brought it home, my boyfriend and I were delighted to see that the setting was in Portland, OR as we have been fantasizing about moving there. It was a little slow in the beginning but we were pleasantly surprised to see many familiar faces, we really liked the storyline and we both found it moving. By the end of the movie both my bf and I were a bit teary (don't tell him that I mentioned that part)! :) I think that this film is very much worth seeing and I like the fact that it wasn't like every other slick Hollywood film in that it had a lot of character. I highly recommend this film and have already done so to several close friends.