Jamie Marks Is Dead
Jamie Marks Is Dead is a 2014 American supernatural horror drama film directed by Carter Smith and based on Christopher Barzaks 2007 novel One for Sorrow. The film stars Cameron Monaghan, Liv Tyler, Judy Greer, Morgan Saylor, Noah Silver, and Madisen Beaty.
The body of a teenager named Jamie Marks, a boy nobody really knew or interacted with except occasionally to bully, is found by the river. His ghost is then seen by two high school students Gracie Highsmith, who discovered the body, and Adam McCormick. As time progresses they begin to understand why he is coming to them specifically. In life, Jamie was in love with Adam, but thought the love unrequited. Over time, Adam admits that he had noticed Jamie in life but had never pursued friendship on any level. In death, Jamie finds the courage to court Adam. Adam and Jamie begin a loving but platonic relationship, which is complicated by their outside relationships in the spirit and material worlds. Jamie Marks Is Dead received mostly positive reviews upon its premiere at the 2014 Sundance Film Festival. Dennis Harvey, in his review for Variety, gave the film a positive review by saying that The potentially ludicrous story is handled artfully enough here to cast an eerie but not offputting spell throughout, though the ultimate point is more than a tad murky, and the desired poignancy doesnt fully come across. John DeFore in his review for The Hollywood Reporter called the film A sincere, psychologically savvy take on YA supernatural fare. Kyle Burton of Indiewire praised the film and said that Carter Smiths Jamie Marks is Dead is a spooky rendition of teenage passion and shame. It has requisite angst and melodrama, but theyre guided by the films immersive atmosphere and sense of place. Its a gothic romancea sort of coming out, bullying story that projects onto its world the moods and emotions of its characters. Jordan Raup of The Film Stage praised Carter Smiths direction that Smiths expertise in crafting visceral, frightening scenariosexemplified in his somewhat underappreciated studio horror feature The Ruinsis fully on display here. Conjuring a gloomy view, in both the afterlife and the real world, the director seems to be in complete control of h
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