In the Bedroom

Rating:
Summary: All in the Family
Review: Todd Field's "In the Bedroom" is without question one of the better films released in 2001. It has some bold acting by the cast, crisp dialogue, strong directing, and no music. It's odd but that was the first thing I noticed about this. It had no music untill the end, it reminded me of an Ingmar Bergman film at first. There's a cold chilliness in the opening scenes, only because we don't know where this film is going to take us. This is one of the few films I can describe as being cold & warm. Sorta like the characters themselves. On the surface everything may seem fine. They all my appear as one big happy family. But, the more we find out, we see, these people have a mean streak in them. They will committ actions they may regret the rest of their lives. They will live with dark secrets, they will never be able to tell another living soul.
I honestly would never give away any of the film's plot, but, sadly there have been those who have done so already, so what's to stop me? As the film first starts out, we see Frank Fowler (Nick Stahl) and Natalie Strout (Marisa Tomei) running through a field. They seem like young lovers. Happy and carefree, nothing, can disturb they love they have for each other. Nick, is a young student preparing to go back to college at the end of the summer. Natalie is currently separated from her husband, and has two childern from the marriage. Frank's mother, Ruth (Sissy Spacek) doesn't like the idea of Frank going out with her, and dispite Frank's protest about not being in love with her, we clearly see he is, as is Natalie with him. Dr. Matt Fowler, Frank's father, seems to be perfectly fine with the situation. And as Ruth suspects, maybe a little too happy about it. All in all, everything appears to be normal. But then trouble comes in the form of Richard, Natalie's husband (William Matpother). Richard is more than angry at Natalie and Frank. Since they are not official divorced yet, Richard feels that Frank has "stolen" his wife and childern from him. And because of all of this there have been some run-in's between Frank and Richard.
As far as the rest of the plot goes, you'll just have to go and see the movie. I will not reveal anymore than I already have. "In the Bedroom" plays off as so real, so intense, I found it hard not to get completely absorbed in the film. The characters are fully developed and completely drawn to life by the great cast. There's one scene in particular between Ruth and Matt in which they have a fevered agrument, about what I will not say. But that scene is so gripping that for a moment you can forget you're watching a movie. It reached the intensity of Bergman's "Scenes From A Marriage".
"In the Bedroom" is not going to turn out and be everyone's kind of film. I would sadly imagine people will say it's slow, ponderous, even boring. That nothing really exciting happens. To those people I say, YOU SAW THE WRONG MOVIE. If you're looking for excitment go watch something else. "In the Bedroom" is a brooding, well paced, effective drama that many will be pleased with.

Rating:
Summary: Wait and rent it on DVD If you have to see it.
Review: I am not sure what they were trying to get through to the audience in this movie. There was so many camera moments of no talking, fade outs and well I just found myself very confused. The story of losing a loved one , domestic violence , how a family grieves and an unjust legal system is kind of thrown at the audience in bits and pieces. The movie does draw a conclusion at the end but only to leave you w/ another sense of "huh?".
I really wanted to see this movie and left very disappointed. I expected based on reviews to be left w/ things unanswered but I never realized that the entire movie would be like this. There are moments in this movie that are very disturbing however I really felt they could have connected the characters and their story in relation to each other far better than they did.
Save your money and go see I am Sam. A far better movie with a different plot but very good at reaching the audience.

Rating:
Summary: SUCKS SUCKS SUCKS!!!!
Review: I was very disappointed when I watched the movie "In The Bedroom" It takes a five minute plot and streaches it out for 2 hours by filming pointless chatter, and objects. It has to be the boringest suckiest movie I've ever seen in my life. When we saw it in the theatre, at the end of the movie, EVERYONE in the audience was BOOING and yelling "SUCKS!" When I went to the ladies room, 2 women were dicussing how it was the most pathetic movie they had ever seen. The preview makes it seem way more exciting then it is. The most suspenseful part of the movie is waiting to see when the excitement will come. It unfortunatly never does....I give this movie two enthusiastic thumbs DOWN! The acting was wonderful, however the movie was NOT. Don't go see this movie, unless you are having trouble sleeping. It will cure you instantly. Happy snoring.

Rating:
Summary: Emotionally lethargic and overrated.
Review: Color me surprised and flabbergasted when I finally found a cure for insomnia in Todd Field's "In The Bedroom," one of the most emotionally lethargic and overrated films to grace the screen in years. It's the kind of movie that audiences flock to see due to its adoration by the nation's top critics, though I, being a critic myself, have to wonder just what it is about the film that everyone's so elated over.

As one of the many movies to be released in select cities during the holiday season, the filmmakers and media were able to supply a sturdy backbone of positive buzz that was a complete assurance of the greatness that awaited audiences who anticipated a national release. But, unlike the other films of this nature, which include the superb "Black Hawk Down" and well-acted "A Beautiful Mind," this film is awash in melodrama, eventually sinking under its own brand of emotional grief and trauma as a result of a hard-hitting tragedy.

To start things off, the film's opening moments and escalating story structure don't carry much resonance to make us care about the ensuing drama that will follow. We are introduced to Dr. Matt Fowler (Tom Wilkinson) and his wife, Ruth (Sissy Spacek), who live a normal rural life in upstate Maine. Their son, Frank (Nick Stahl), continually ignores his parents' urgings that he attend college; it suits him better to carry on a relationship with Natalie (Marisa Tomei), a mother of two young boys who has been separated from her husband for some time.

Do we learn much about these people, outside of what is visible to the eye? No. There is some tension that lies between Natalie and her husband, Richard (William Mapother), but it is smothered by the fact that we have no idea why the two have been apart for so long, leaving us little choice but to succumb to Ruth's own belief that Natalie is little more than a trollop whose latest adventure just happens to be her son. There is also some promise within the relationship between Frank and his father, who approves of his love affair, and between Frank and his mother, who dislikes the relationship.

Then comes the story hook, in which Frank is murdered after Richard decides to pay a visit to Natalie. Of course, Matt and Ruth are devastated, though Matt seems far more willing to keep his grief concealed than his wife, who sits aimlessly in front of the television, speaking small, emotionless phrases in reply to his inquiries about how her day went.

After a bail trial rules in Richard's favor, their grief and heartache escalates, as does the tedious nature of the material. The characters wander through the plot without any sense of where they are going, yet this does little to convey the emptiness and emotional grief they feel. Ruth is subjected to various encounters with her son's killer, though nothing important ever arises from these silent confrontations. When the time finally comes for Ruth and Matt to confront one another with their held-back angst over who was responsible for Frank's death, it amounts to little more than a "he-said-she-said" rehash of the past, after which comes the inevitable reconciliation and consolation.

Much of the film's failure is due in part to director Fields, who gives the movie a pace that takes away any sense of intensity it had going for it. From long periods of silence between dialogue to artsy insertions of flowing curtains and sunny pastures, there are moments here that are sure to bore people out of their wits, if they haven't already headed for the concession stand in an attempt to reawaken themselves.

All of this is a shame, really, when you consider the stellar acting on the part of Spacek and Wilkinson, who both give such hard-hitting, emotionally adept performances that go to waste on bland, unmoving characters. The film's focus is fuzzy and muddled, moving from one scene to another without much care for developing characters or rhythm, all at a pace that will provides many with a well-deserved nap, if nothing else.

Rating:
Summary: Ah...was waiting for this film to show up.
Review: I have come to despise this time of year in cinema, and this kind of sleep-inducing garbage is exactly why. Every single year now, it seems, there has to be that "masterpiece-from-nowhere" that has to explode onto the scene just prior to Oscar time, with the hype machine in such overdrive that you can practically smell the gears burning. You never heard of it, you don't know what it's about, but all of a sudden, with the Oscars looming, its name is being dropped in practically every review, column, conversation and comment related to cinema. So you go and see it to see what the fuss is about, and realize by the end (after the usher wakes you) that you've been duped again by the politics and posturing that the Oscars have now become all about.

This is an unbelievably boring, pointless, and overrated film. In other words, the perfect Oscar contender. I paid full price to see it, of course on the basis of the hype (which is only bound to explode in the coming weeks), and it was easily my worst moviegoing experience in the last year. What a steaming pile of dung.

Of course, my bet's on this one for Best Picture.

Rating:
Summary: The Makings of a Classic
Review: Start with a powerful script that seamlessly weaves together
such themes as the process of grieving, the parenting of
adult children, the upheaval of divorce, the rift between
the college educated and working class, and the pursuit of
justice. Gather a talented ensemble cast who pour their
souls into the characters and bring them to life. Film the
tale with such "special effects" as thoughtful camera angles
and poignant symbology. Set the story in Maine where you can
follow in the footsteps of the Shawshank Redemption, the Cider
House Rules, Children of a Lesser God, and the Spitfire Grill.
What you end up with is In the Bedroom -- a marvelous example
of the power of film, not the power of Hollywood.

Rating:
Summary: Be Patient and Watch Yourself Come to Life
Review: This film is so simple, so natural, so normal, that despite the resounding applause from critics, it is easy for the public to ignore such a movie. Being moderately low budget, it is in reatively limited release, but still it doesn't enter the cineplexes with any bombast fury to announce its arrival. Instead it'll sneak in, take up residence, and please the audience members who are lured by the intrigue--courtesy of the Academy. Nominated for Best Picture as well as most of the best actor/ress categories, the best advertising that In the Bedroom has accrued is from its ample award nominations. And, ultimately, such nominations are completely deserved.

The film starts with innocent pastoral landscapes, but by the second act, all glassy-eyed virginity is quickly stricken away. From the direction standpoint, the film is recorded aptly. Indeed little variety can be experienced in the limited settings, but with an abnormal tendency for long, deep, continuous shots, the scenes bring the audience increasingly involved. When the camera does finally pull back to take the sweeping vistas of Camden, Maine, it is done with a simplicity and appreciation for the inherent beauty to be discovered there.

The screenplay is believable from beginning to end, with dialogue that is appropriate, if minimalist in execution. The story is one enthralling, yet simple enough to ensconce even the most distant viewer. Indeed, this isn't a film depicting events; it is more about prophesying the natural human response to a series of tragedies. Moreover and more disturbing is how the screenplay applies to the individual. This is a film that displays the human reaction, your reaction, my reaction, to said tragedies. It's an intriguing experience, knowing that in the same situation, under the same circumstances, we would be going through, considering, and enacting the exact same things. So when observing the story, we can watch, ruing the character's decisions, applauding their triumphs, criticizing their follies, and still maintain the intimate knowledge that it could have just as easily been you or I, and we would have done the exact same thing. It is a wake-up call to the human conscious, providing intense insight into what could be.

Finally, and on the topic with which the Academy has been most gracious, is the performances. The lead actor, Tom Wilkinson, the protagonist perhaps by default, is letter perfect for the entire film, and if any of the cast deserves the Oscar, it is he. Sissy Spacek also glows in her own cold, dark manner. Marisa Tomei, also nominated, offers an admirable performance, for a decidedly minor role that nonetheless circles the conflict of the story.

It should be noted, in conclusion, that this is a very somber movie, a very realistic movie--perhaps in the most disturbing sense of the word. It is leisurely paced indeed, but if you offer yourself into the characters, the time will pass without notice. It is a very good film, with a very good story--a story that reverberates in the soul of every viewer not for its message, but for the resonance it holds in our own hearts--and with a cast that, not least of all, perfectly captures all of the subtleties that the film encapsulates. In the Bedroom is nominated for Best Picture, and while it's subtle place in Hollywood might prevent it from taking home the statue, it is no less deserving of that distinguished honor than any of the other nominated films.

Rating:
Summary: one of the years best
Review: In The Bedroom tells the story of a family in Maine. There's a mom, a dad, and a son. The son is murdered towards the start of the movie, by his older girlfriends (Marisa Tomei) ex-husband. The rest of the movie focuses in on that subject. How the mom and dad deal with the death.

In watching this movie, I was impressed by everything. The acting was phenomenal, the directing was great...the writing was great.

This is not a fast moving movie. It moves slow enough, and quietly enough, to let you soak in all the details. Sometimes our actions speak louder than our words...obviously Todd Field had that in mind when directing this film.

The movie kind of has two different stories to it: How the parents cope with the loss, and how they deal with it. Sissy Spacek carries the first part of the story magnificently, and Tom Wilkinson has the second half, and it's clear why the Academy gave him a nomination (Which, may I add, redeemed them from nominating Renee Zellweger over Tilda Swinton or Audrey Tautou).

This movie is intense. During the last thirty minutes (Of which I will give NO detail) I had my hands in a deadlock with each other. It was perfect. The thrilling aspects, the suspense, the climax. Tom Wilkinson was exceptional. Everything about the movies second half was exceptional, and a total of maybe ten lines may have been said during the last thirty minutes. Todd Field wants you to focus on the detail of the actions, the emotions, not what the characters are saying to each other, and it works beautifully.

The end of the movie makes you go "Huh?" No one in the theater stood up to walk out for about, say, five, ten minutes. Okay, maybe about a minute. Everyone was going "What? But..." All I can say is to remember what Matt Fowler (Tom Wilkinson) says about the lobster he and his son Frank (Nick Stahl) catch at the start of the movie. The movie is so engrossing that your likely to forget...but that's my answer to Matts question. Just remember what he said, and then place the characters of In The Bedroom in his description.

I want Tom Wilkinson to win the Best Actor Oscar. I want him to win soooo badly it ain't funny. Sissy Spacek was good, sure, but Halle Berry needs a win. Marisa Tomei...ahhh, she worked her way into the Best Supporting Actress category...Jennifer Connelly will trounce her...sorry Marisa.

If you are an action fan, stuff blowing up, a movie moving at a fast pace, don't see this movie. You'll hate it. If you like movies where everything is explained by the end...don't see this movie. You'll hate it. Otherwise...go see this movie. You'll be glad you did.

Rating:
Summary: True Feelings
Review: Being a parent I found the feelings of the parents right on target and how one would feel they had to put the blame for such a tragedy on someone else just to survive. The actors were very believable.

Rating:
Summary: NOT FOR THE FAINT OF HEART
Review: INTERESTING THE REACTION THIS FILM IS GETTING. LOVE IT OR HATE IT, PEOPLE ARE TALKING. FRANKLY, I'VE NEVER SEEN A MORE HONEST MOTION PICTURE, AND CERTAINLY THE PAIN AND SUFFERING THAT COMES FROM LOSS HAS NEVER BEEN MORE REAL. PEOPLE WHO SAY IT'S BORING SHOULD STICK TO BANAL FARE -- THEY DO NOT DESERVE TO EXPERIENCE THIS PICTURE. DITTO FOR THOSE WHO WANT TO SIT IN A THEATRE FOR TWO HOURS AND BE TOLD LIE AFTER LIE. TODD FIELD & CO. BEGAN THIS PICTURE AFTER HE LOST NOT ONLY ANDRE DUBUS, THE WRITER OF "KILLINGS," ON THE PICTURE IS BASED, BUT ALSO STANLEY KUBRICK, FOR WHOM HE ACTED IN "EYES WIDE SHUT." AS A RESULT, THE PICTURE BECAME A MEDITATION ON GRIEF, ON RAGE, ON LOSS. GIVEN THE DARK REALITIES THAT STRUCK THIS WORLD IN THE NINTH MONTH OF LAST YEAR, I THANK GOD THAT THERE ARE STILL ARTISTS OUT THERE WHO ACTUALLY CARE ABOUT WHAT THEY'RE DOING. MR. FIELD & CO. SHOULD BE VERY PROUD. ...AND A SPECIAL THANK YOU TO MR. WILKINSON & MS. SPACEK. YOUR HONESTY AND BLUNT HUMANITY HAVE OFFERED ME THE OPPORTUNITY TO APPROACH MY OWN WRITING IN A WAY THAT IS NOT ONLY THOROUGHLY EXCITING, BUT INNOVATIVE AS WELL.