Rory (Jude Law), an ambitious entrepreneur and former commodities broker, who persuades his American wife, Allison (Carrie Coon), and their children to leave the comforts of suburban America and return to his native England during the 1980s. Sensing opportunity, Rory rejoins his former firm and leases a centuries-old country manor, with grounds for Allison's horses and plans to build a stable. Soon the promise of a lucrative new beginning starts to unravel, the couple have to face the unwelcome truths lying beneath the surface of their marriage.Written and Directed by Sean Durkin (
Martha Marcy May Marlene)
Release Date - Theatrical on September 18, 2020
VOD on November 17th
Looks like a less histrionic Revolutionary Road, which is to say it's right up my wheelhouse.
Interview with DP Mátyás Erdély at Kodak (https://www.kodak.com/en/motion/blog-post/sean-durkin-the-nest)
Best film of the year for me so far. Might even prefer it over Martha Marcy May Marlene.
Jude Law and Carrie Coon has never been this good.
I really liked this, has something to say, good performances etc. But it sort of felt incomplete in the same way MMMM did.
Can you elaberate on that?
I liked how the ending didn't reach any clear conclusion.
Matt Zoller Seitz compared Coon to Gena Rowlands in his Roger Ebert review. That's on point. She should sweep the Xixax awards! :p
Quote from: Jeremy Blackman on November 26, 2020, 01:11:16 AM
I really liked this, has something to say, good performances etc. But it sort of felt incomplete in the same way MMMM did.
Never realized how funny that film's acronym iz 'til now.
It's better than when you try to say it irl: "Have you seen that film, you know, Marcy Mary Marlene... Moa Marlene?"
My comment was actually unfair to MMMM. I love that movie and don't think it was incomplete. And maybe that's not the right word for this one either. This movie does feel like it has finished a complete thought. Maybe it's just a bit simplistic, which is fine.
for my money, the best film of the year so far. And also a gigantic step in terms of storytelling maturity from MMMM. Feels like a very solid film to me. Only agree with Mike D'Angelo that there is a little too much horse stuff, but that's the only complain that I have with the film
In retrospect, I think I've changed my opinion on this movie and kind of like it a lot now. My initial reaction was a little harsh and premature. Probably an expectations thing.
Apparently the horse was still breathing when they checked on it — buried alive, essentially. And that's why there was horror in those late scenes. It might have even struggled and unearthed itself a bit.
We're just knocked out
We heard about the sell out
You gotta get an album out
You owe it to the people
We're so happy we can hardly count
Everybody else is just green
Have you seen the chart?
It's a helluva start
It could be made into a monster
If we all pull together as a team
And did we tell you the name of the game, boy
We call it 'riding the gravy train'
Richard Reed Perry's score, plus the weighty and truthful performances from the four main players, animate this cold piece of coin into a family portrait. Could have easily been a bore, or tediously wrapped up in the patriarch, but I found myself attracted to its parallel threads.
A bit on-the-nose with its dialogue. Thankfully, Durkin knows when to let the silence and edit guide momentum.
Makes a good companion piece to Azor.