Dennis Quaid and Zac Efron star, in performances that both use and challenge their screen personas. Quaid plays Henry Whipple, who farms more than 3,500 acres and also represents the Liberty Seed Co., which sells genetically-modified seeds. He inherited the business from his father and hopes to pass it along to his son, Dean (Efron). Quaid's winning smile is famous in the movies, but never has it been used to better effect than here, where it has a slightly forced, even desperate quality. It's as if he's running for office.

Henry is the kind of man who will attend the funeral of a neighbor, express his genuine sympathy, and then try to buy the rights to the man's land right there at graveside, without missing a beat. He finds himself in trouble with Liberty Seed, and at home — where his older son, Grant, has run away from the family to climb mountains in South America, and Dean would rather be a NASCAR driver than a farmer and salesman. Henry's wife Meredith (Kim Dickens) is a good woman, loyal and patient, and there's much she needs to be patient about.

There is a lot more to the movie, including repercussions from the land sale, implications involving copyrighted seeds, Henry's relationships with old neighbors, and the death of the son of a rival. All of this you will discover in the film, which isn't a simplistic fable but novelistic in its events and characters. I'd rather focus on the moral transformations of Henry and Dean.

For Henry, life centers on the fortunes of Whipple Seeds, and a battle for control of sales in a nearby county. For Dean, life centers on regional race tracks that could provide a stepping-stone to NASCAR. Boldly, shockingly for an American story, by the end of the film both men discover there are some things they will not do to succeed, some steps they are unwilling to take. It exists in a landscape populated by dozens of Hollywood films in which the heroes unthinkingly murder countless people to achieve their goals (and they are the good guys). The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.