Rating: 
Summary: Far From Heaven is Far From Dull
Review: Far From Heaven is set in 1957 but the movie doesn't try to depict 1957 as it actually was; it shows 1957 through the lens of fifties melodrama films, Douglas Sirk movies in particular. When we first meet this family they seem to have it all: the husband, Frank, is a successful sales executive and they live in a beautiful home in Hartford, CT with two kids. But beneath the surface there's some serious dysfunction here. Things start to go haywire when Cathy discovers Frank getting it on with another dude. Turns out he's been full of man-love for quite some time. Since Cathy can't get any from her husband she becomes drawn to her "negro" gardener Raymond. You can probably guess what happens next. This movie is a bit predictable and by the numbers; I would find myself guessing what would happen and not being too far off. But that doesn't detract from the enjoyment of the film. See this movie for the mood, the music, and the sets and don't be disappionted if your not surpised by the story.
Rating: 
Summary: A solemn triumph of sagacity and artistic filmmaking
Review: Both sagacious and poignant, this homage to Douglas Sirk's film noir/women movies of the 1950's delivers an emotionally-powerful story both successfully and allegorically. The filmmaking and subject matter of Far from Heaven are expertly displayed in the exact, old-fashioned style as Sirk's movies, while being a stylish film with a relevant, perceptive message. Sirk's films were about postcard-perfect lives with dark and very human underlying secrets. Far from Heaven is the exact same type of movie, but one that is capable of transcending the cinematic melodramas of the 50's.Taking place in Connecticut of the late 1950's, Far from Heaven centers around a female protagonist named Cathy Whitaker (Julianne Moore). Cathy is introduced to us as a perfectly polished, ideal housewife of the 1950's. She is well respected by her peers, well groomed, and loves her family. However, her life begins to shatter once she discovers that her husband Frank (Dennis Quaid) is a homosexual who has casual affairs with men that he meets on the street and in back-alley gay bars. Frank himself doesn't approve of his behavior, and he and Cathy come to the conclusion that he should see a psychiatrist by the name of Dr. Bowman (James Rebhorn). Cathy finds escape from her life's imperfections by socializing with her gardener, Raymond Deagan (Dennis Haysbert). Raymond is a charming, handsome, and intelligent black man who has a passion for seeing color, or more specifically, whatever is on the surface of things. Cathy wishes to continue her relationship with the loving Raymond, but finds that difficult when her gossipy, bigot peers begin to think that she and Raymond are having a sexual affair. Cathy's life becomes excruciating, as her friends and neighbors of the racist area in which she lives discover more and more truth to what seemed to be a paradise-esque lifestyle in which she lived. Far from Heaven is the ultimate antipode to the other great period movie of 2002, Chicago. Rob Marshall's musical Chicago was entertaining, bold, brassy, and the sort of film that people see to simply have a fun time (and, of course, there's nothing wrong with that). Far from Heaven, on the other hand, is a solemn film that is message-laden and abstemious. It is a thinking-person's masterpiece. The performances of Moore, Quaid, and Haysbert are all masterfully delivered. The way in which Moore displays the character of Cathy makes her performance one of the year's best. She is able to let the audience know that the kind-hearted Cathy is actually masking her troubles with her façade that everything is perfect and in control without stating so. Quaid, who normally plays characters of great masculinity, is astonishing as the homosexual Frank. He is convincing, and is able to show the character's inability to mend his problems while instead bottling them up inside to the point of unbearable angst with great skill. Haysbert is charismatic as Raymond, and does not try to make the character a hero but instead succeeds in making him a symbol of discovering the true colors of people's lives (perhaps the "Deagan" of his name symbolizes his "digging in" of Cathy's actual feelings). The filmmaking of the movie is exquisite. Sandy Powell's authentic costume design, Mark Friedberg's sumptuous production design, Elmer Bernstein's wonderful score, and Edward Lachman's gorgeous cinematography all capture the cinematic feel of 1950's films, and the overall feel of the movie's messages with proficiency. In fact, the A-list collaborators also showcase color to the point where they seem to understand that this movie about how we must express feelings that we actually wish to hide must itself be textured with rich color and an aura of expression. Todd Haynes, who directed and wrote the screenplay to Far from Heaven, is certainly one of the most promising directors of our time. Haynes handled everything about this movie with great ability and maturity. Not once did Haynes dilute the themes of homoeroticism to an exploitative degree, nor did he ever become sanctimonious in stating the film's messages. Haynes told the movie in a stylistically old-fashioned manner of storytelling, and meritoriously so. The film, although it takes place in the 1950's, is quite relevant to the society of the present day. Not everyone will enjoy the often-depressing tone of the film, but they will admire its depth and wisdom. It's the sort of movie that you watch to contemplate afterward, and this film will have anyone thinking about it once they are finished watching it.
Rating: 
Summary: someone's grad school thesis
Review: this movie is literally a 50's movie made with contemporary actors. Is this necessary? I thought it was [pretty bad]. Melodrama from that era is bad enough as it is. I'm sure everyone working on it was very congratulatory with themselves on creating such an amazing reproduction, but really. It was boring. And obvious. Fortunately for everyone, the 50's are long over. Don't believe the hype.
Rating:
Summary: LOVE AND UNPROPER STRANGERS .....
Review: It's really the kind of movie you experience after seeing it and you might question something observed between adults as a child -but not understood - then ...... JULIANNE MOORE brilliant captures the confused wife circa 1957 - 1958 - discovering that her husband has 'an affliction' for the same [type] - and the recommended 'treatment' during that period somewhat overshadows the Spanish Inquisition [something still present today]. BUT to the movie - brilliantly captured in the honey tones of that period [not quite a Doug Sirk clone - more of a tribute]. There's also the 'almost' love-triangle between we Julianne Moore and her gardner - Dennis Haysbert - an impossible love then and now - complete with the usual consequences. DENNIS QUAID as the husband? The role of a lifetime and quite a risky one too - very, very award-worthy. It's a period movie with so many contemporary overtones, beautifully photographed, costumed, scored [the Art Direction alone is worth a solid burst of applause]. Highly recommended.
Rating:
Summary: Bad Movie
Review: This movie sends a good message, but the "interaction" between characters deserves this film a 1 star.
Rating:
Summary: Astounding, moving look at life in general
Review: The controversial subjects that have been addressed for years, homosexuality and interracial relationships, are analyzed in the beautifully photographed "Far From Heaven." With career altering performances from the wonderfully dynamic Julianne Moore and Dennis Quaid, the film intricately breaks down a seemingly perfect family's demise.
Julianne Moore flawlessly portrays Cathy Whitaker, a seemingly faultless 50's housewife, and Dennis Quaid nails the part of her homosexual husband. From the gorgeous opening sequence to the purposefully colorless ending, the perfect fifties housewife's image is tainted through her budding relationship with her black gardener (superbly played by Dennis Haysbert), and her corporate giant of a husband falls victim to his own demons, resulting in a crack in the surface of the family's image. As time progresses, the crack severs the family completely, and the picture perfect family from the opening sequence become but a memory.
This film is an amazing glance at the prejudices in life, not just in this time era, but at all times. The theme of this movie rings true for the entirety of history. This heartbreaking story is a wonderful addition to anyone's collection, movie lover or not; it is breathtaking from all standpoints, and, in my opinion, the best picture of the year.
Rating:
Summary: Flawless
Review: Todd Haynes is nothing less than amazing in his ability to conceive of and transmit a concept. This time out, he nails it. Everything about Far From Heaven is flawless, from the pastel production design and complimentary costuming (even to the rear projection for interior car scenes and the Lana-Turner-tied-back scarf) to the soundtrack and the titles. Stylistically, there's not a single jarring note; even the slicked-down hair on the males is just right. Thematically this is far darker and far deeper than the 50s models to which Haynes pays homage. It's about appalling hypocrisy (it's more acceptable to have a homosexual husband than a friend who is a man of color), about the repression of true emotion, and about the surface of things being kept clean and shiny at all times--while, underneath, emotions are simmering on their way to a boil. Particularly stunning are the scenes between the always-wonderful Moore and stalwart performer Haysbert. There is so much subtext, so much quiet courage that the viewer dares to hope for the impossible--that, just once, two people will make it past the rigid boundaries of convention. Certainly, we're left hoping that they do; just not within our viewing. Dennis Quaid does a decent turn as the hopelessly conflicted husband who wants desperately to be "normal," but can't quite manage. Julianne Moore keeps getting robbed of the awards she so richly deserves. She's not only achingly beautiful but she's profoundly gifted--bringing something new, something profound yet understated to every successive performance.
Don't miss this.
My highest recommendation.
Rating:
Summary: Visually and Emotionally Riveting
Review: Cinematic elements and social themes of the 50's are brought to an astonishing life in this visually stunning and emotionally powerful film. Be it the "old-fashioned" credit sequences, the brilliant score, the cinematography, the dialogue..Todd Haynes has certainly done his homework. And let's not forget the actors involved--Julianne Moore and Dennis Quaid, both pulling off amazing performances. I think this is a film many people will be able to relate to--everything LOOKS good from the outside but indoors, it's a different story. Julianne Moore nearly had me crying several times. You can see her slowly beginning to unravel as she continues to try and hold up her appearances while being crushed on the inside. Same goes with Dennis Quaid's character--desperately wanting to be "normal" but finding it harder and harder to fight. I LOVED Dennis Haysbert's character--that is a true friend. To see Moore and Haysbert on screen together interacting, socializing, and sharing a true friendship was very moving..I won't give anything away but what happens between these two is truly heartbreaking. Wow. I could go on and on..just go to Blockbuster and pick it up!
Rating:
Summary: FILM HEAVEN!!
Review: I grew up watching old movies from the 40's and 50's on late night television. These included the films of Douglas Sirk. I am thrilled to see this type of movie brought back to the silver screen by the multi-talented Todd Haynes. Thank you Mr. Haynes for an instant classic that is sure to stand the test of time; like the films of Douglas Sirk has.
Rating: 
Summary: Stylish fare
Review: You admire this movie like you would a tiny town made of matchsticks. In this case, it's a recreation of the Fifties. All crafted with great care, even in the period-correct language. It shows that, even with a intentionally corny story and an out-of-date style, the dignified heroine of the writer/director can still make a movie interesting.
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