Every film that has ever been nominated for an Academy Award in any category. Enjoy!
In the Bedroom
A young man. An older woman. Her ex-husband. Things are about to explode...
Summertime on the coast of Maine, "In the Bedroom" centers on the inner dynamics of a family in transition. Matt Fowler is a doctor practicing in his native Maine and is married to New York born Ruth Fowler, a music teacher. He is involved in a love affair with a local single mother. As the beauty of Maine's brief and fleeting summer comes to an end, these characters find themselves in the midst of unimaginable tragedy.
Powerful and elegiac, ranking up there with "The Sweet Hereafter" and "The Ice Storm", "In the Bedroom" is a drama of a family marred by a horrific tragedy. Sissy Spacek, Tom Wilkenson and Marisa Tomei are equally devastating as a trio of loved ones who lost aspiring architect Nick Stahl.
My favorite scene: Wilkenson and Spacek are verbally duking it out with one another (Wilkenson whispers, “You’re bitter, Ruth,” reverberating quite loudly), only to be interrupted by a little girl selling chocolates. It is a priceless scene in a wrenching film.
Good but should have been great. The whole film is practically split into three parts. A romantic drama starts us off, before an examination of grief and then we dive into thriller territory. The middle portion, consisting of Tom Wilkinson and Sissy Spacek having to deal with a major tragedy in their lives is where the film delivers on its potential. To see them cope with their loss in vastly different ways, before crescendo-ing into a war of words is brilliant. Unfortunately the other two or three major characters involved in the incident aren’t developed well enough in the opening act, in fact one of them is practically shoved aside and barely heard from again surprisingly. After the excellent middle…
This is one of my all time favorite films. An acting display of the first order. With Tom Wilkinson and Sissy Spacek giving heartbreaking performances. Tom Cruise's cousin William Mapother is perfectly cast as the entitled spoiled scumbag murderer. Todd Field directed this ice cold revenge tale with a great eye for detail on small community America and the psychological need for retribution. He also directed the great Little Children and it's a shame he hasn't made another film in almost a decade. Why?!
In the Bedroom can be divided into three distinct acts: a light romantic beginning that introduces our characters and the quaint Mid-Coast town in Maine. The middle act serves as the central character study and the marriage between Matt (Tom Wilkinson) and Ruth (Sissy Spacek) Fowler are put to the test. Lastly, the final act switches to a suspenseful thriller as decisions are made when the matter appears out of their hands. Each act gets better and better, but unfortunately the entire film feels unbalanced and unable to commit to one genre and to be frank, the entire film looks rather bland. The acting is superb, particularly that of Wilkinson and Spacek, and it is a great story with an adequate lobster metaphor, but it suffers from a lack of balance and direction that makes the film seem incomplete.
A slight disappointment.
It has a cast ensemble I always enjoy, explores the nature of parental grief very well, and has an interesting lobster metaphor. There is a shocking (although predictable) scene at the heart of the film, and some lovely and telling montage scenes late in the film.
However for me this was a little uninspired. For such a low budget, the film is a success and great example of Sundance cinema. But it barely managed to leave an impression. Solid throughout, but one of the weaker Best Picture nominations of the 2000s. Also, the third act felt very false to me. I just didn't buy it, and thought it took the film down a road I couldn't quite believe. There are some truthful moments in this film, negated by some clumsy foreshadow and unrealistic plot developments.
La frase que más se repite en "In the bedroom" es: "No lo sé". Como si se tratara de un código que debemos desencriptar.
Vaya que me gustó esta película. Es una de mis preferidas de los últimos 20 años. De hecho, es una obra maestra. Llevaba más de una década sin volverla a revisar.
Todd Field ha hecho solo 2 cintas y ambas son dramas magistrales. Es injusto que no sea más conocido. También es injusto que me haya dejado esperando por su tercer largometraje (confío en que vendrá en algún momento).
Field con solo dos películas ya suma tres nominaciones al Óscar. Dos como escritor. La otra genialidad que hizo fue "Little Children". Y, por si fuese poco,…
This crept and genuinely surprised me in a fashion I haven't felt in a long while. What starts out as a fairly humble small town overview akin to other nominees like The Cider House Rules explodes into dark corridors with simplicity and elegance. It is essentially the closest thing I've seen from the past thirty years to the great '50s melodramas like Peyton Place. Everybody does an amazing job here, but especially the lead performances by Sissy Spacek and Tom Wilkinson deserve all of the applause in the world. Without showing off or flinching as most other actors would they build and break down these fully formed humans. It's especially insane to think of Spacek lose to Halle Berry. I guess you just had to be there to understand that insanity.
Tragedy, heartbreak, a family torn. In the Bedroom exquisitely tells the story of a slow burn for vengeance, and what's morally right to do. The cinematography and direction are near perfect. The performances ( Tom Wilkinson and Sissy Spacek) are outstanding, and accurately capture a true, broken American family. It's a tough watch, but what a fine, fantastic film.
Frankly, I didn't really expect to like this and only watched it for Marisa Tomei, who I've been in love with since like the 7th grade, and because I was on Netflix on my phone. From a May-December romantic drama to a multidimensional portrayal of grief to its revenge thriller conclusion, its 3 acts are ever-so-distinct from one another but manage to flow together with almost effortless fluidity. It's far more contemplative than melodramatic, and even when the music kicks in, it's bare bones and quietly does its part to supplement the nuances. Also, between this and Bloodline, Sissy Spacek is amazing at playing grieving mothers who only wear blue button ups.
Great acting. Especially from Marisa Tomei. The proceedings feel a little flat. Sissy is great, but her character is the weakest in the lot. Didn't buy the sudden switch when she suddenly is on her husband's side.
Nota = 5
I asked about underrated films and someone said this one. I gave it a shot and I'm glad I watched it.
Todd Field has two full length films out. This, and Little Children. Both films do not disappoint.
There were times where I wanted more from one of the characters and have her in more scenes but it didn't take away from the film altogether. I dug this.
In the Bedroom is a totally confident film. The acting is outstanding. The direction is assured, if totally safe. Plus it has a clear point of ending in it's mind. Sadly the story and themes have just been done before. Perhaps in 2001 this felt abrasive and ponderous, but aspects of the film just haven't aged well, particularly the stale dialogue. I'm still interested in seeing the director's other film Little Children, but I can safely tell people to skip this one unless the subject matter is one of personal interest.
In the Bedroom creeps up on you slowly and subtly. It becomes one of those powerful emotional experiences that some films bring out of you. But it doesn't show its cards right away. Silence pervades every part of this film in a very disquieting way. We can sense the emotions boiling underneath the silent moments. The pain seething, the anger growing, and the sadness bubbling to the surface. It's not until these emotions burst out in certain scenes that the film really grabs a hold of us and shakes the same emotions out of us.
It is a small miracle that this film is as emotionally affecting as it is because every element of the film has to work together…
This review reportedly contains spoilers. I can handle the truth.
This was a hyper-realistic exploration of grief that turned into a revenge thriller in the last half hour. It was satisfying but jarring and seemed conspicuously out of tune with the rest of the movie.
Every film Roger Ebert has given a four-star rating. This is an ongoing project.