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A good start for Paul Dano's directorial debut
mr_bickle_the_pickle11 September 2018
This movie is being described as "A boy witnesses his parents' marriage falling apart after his mother finds another man." And while I think thats true, I think its a bit more complex than that. It also is a bit of a coming of age story where Joe has to grow up and be the adult in this family, but also it seems that mom is having a mid-life crisis (although shes not quite mid-life) and trying to discover who she is outside of being the "perfect 50s housewife" that perhaps she feels trapped in. There's a lot of symbolism in this movie. The backdrop of this movie is that there is a wildfire that has been raging and the townspeople have been desperately trying to put out. And that correlates with Joe and his own family. Hes trying to put out the fire in his own family. Also, Joe works at photography studio and Paul Dano (the director and co-writer) even said that this is supposed to be a PORTRAIT of a family life.

Speaking of Paul Dano, I think he did well with his directorial debut. I think visually there are some gorgeous shots in this movie. Like for instance where Joe is watching the wildfires (and hes perfectly centered - probably again to mimic the portrait vibe). Also where Joe is about to give up but it starts to snow and hope has regained. I liked the film for the most part. They do frame the film by following Joe's perspective. And I think its mostly effective in making you feel for this kid, my only problem is there are a couple of parts where I feel like there are gaps in the story. Without giving too much away there is a scene where Jerry (Jake Gyllenhaal) has decided to seek revenge and it ends up backfiring. And yet, the next time we see him everything seems to be fine. And it never really gets explained what happened. Theres a brief line that they decided it was a "misunderstanding" but you never really see what happened and he also gets hurt during this, and that never gets brought up again either. I know Paul and Zoe (the other writer) were adapting this from a book and perhaps thats the way it is in there too. But I personally found that a little frustrating. I needed a little more.

Carey Mulligan is fantastic in this. She would be deserving to have her name thrown in the hat for awards season. I also thought Ed Oxenbould was a standout too. Which is good to hear since he's onscreen for pretty much most of the movie. I definitely will be looking forward to more of his things. I also thought Jake Gyllenhaal was good but hes absent for a good chunk of the film and so he just didnt stand out as much as Carey or Ed did.

Overall I liked the film. It wasn't perfect, but I would totally check out another film that Paul Dano directs.
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Restrained yet heartfelt.
collin-sandoe5 November 2018
I have so much respect for restrained filmmaking for which this movie is an example. Its steady pace and tasteful design gives it authenticity, allowing you to feel like you are living the life of the main character Joe. The acting is superb and the characters are living, breathing individuals filled with hopes dreams and independence. Though Jeanette falters at times, she is doing what is she sees is necessary for her and her son's survival. The emotion on her face, flickering like a shorted lightbulb, portrays her fragility with great depth. The score of the film is great. The story, though maybe too subdued for some, stays with you long after this earnest movie reaches its resolution.
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Slice of Life
Moviegoer1912 January 2019
I very much enjoyed watching Wildlife. Whether it was a Directorial Debut or a director's tenth film, I found it to be superb, which I suppose speaks of the talent of Paul Dano. (Did anyone else feel there is some resemblance between the actor who played Joe and Paul? Just an aside...) The film, as other reviewers have mentioned, has a restraint to it which works well and stops it from descending into overdone pathos. In its strong quiet way it brought up emotions in me which made it a compelling film to watch. I was very involved with the experience of each character. They each were realistic with very realistic concerns. I would say that perhaps the overriding emotion I felt was anger at the parents because they each gave in to their selfish needs and wants, while leaving their 14 year old son to be the mature one. What does "mature" mean here? It means doing what's right, as in the Buddhist "right action." Jeanette, the mother, did things that made her feel good; she gave in to her own egotistic wounds and tried to fix them, at her son's expense. Likewise, Jerry, the father, did too. He drank, he gave up a job out of pride, and he ultimately pursued an adventure, also rather than do what would have been more responsible, and also, more dull. Joe, the son, was the one who was focused on the three of them as a family, as captured in the final shot of the film, symbolic as it was. One could say the theme of Wildlife was Family vs. the Individual, i.e., how much can adults sacrifice of their own desires and ambitions in the name of the family unit and/or the children? By extension, it can also be asked how is it possible, assuming it is, to satisfy both. Ironically, the teenage Joe enabled his parents to respectively pursue their own desires while he maintained the family unit. I'd wholeheartedly recommend this multi-faceted film to anyone who prefers depth to flash.
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Carey Mulligan and Jake Gyllenhaal as haunted parents, and what a debut by Paul
hariharshankar21 January 2018
As an actor, Paul Dano, with his long-faced gaze of inquiring gloom, has always radiated a sense of unease. That's far from the only thing he communicates (he was spectacular as Brian Wilson in "Love & Mercy," a performance that beautifully merged Wilson's disturbance and his joy). But a kind of hushed foreboding remains the vintage Dano mood, and "Wildlife," his directorial debut, is suffused with it.
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Wildlife (2018)
rockman18221 October 2018
This happened to be one of my most hyped films of the year. I am a big fan of Carey Mulligan and Zoe Kazan so I knew I had to check this out as soon as earthly possible. Had the pleasure of attending a screening of this film at the IFC Center with directer Paul Dano and co-wwriter Zoe Kazan present for a Q & A. The film is beautiful to look at with rich cinematography, has a number of strong performances with a fantastic one from Carey Mulligan, and shows that Dano and Kazan have the talent to get behind the camera and bring a quality piece of work.

The film shows a family in 1960's Montana and how life changing events cause their family to fall apart. After the father is fired, he decides to take a job putting out wildfires which causes him to leave the home for an extended period of time. During this time his wife struggles trying to hold her family together by doing whats best for them but she also questions if she even loves her husband. All this while, their teenage son has to watch his parents drift apart silently. The film stars Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould, and Bill Camp.

As mentioned earlier the cinematography and especially the scenery in this film are gorgeous. Lush, rich and a perfect description for a simpler quieter time in 60's Montana. The film gets quite uncomfortable as you start wondering about the state of mind Jeanette Brinson (Mulligan) and what she gets herself into. You are basically like the teenage son Joe (Oxenbould). You see things from his lenses, feel exactly what he is feeling, and can't look away much like him. Its a startling tale but one that depicts a perfect looking family where it is anything but.

Carey Mulligan is one of the best actresses out there today, that's not even a debate. She's had so many great performances that I don't even know which is her best. This is definitely up there though. It's such an introspective look into the lives of a family where things are just beyond repair. I'm very impressed by Dano and Kazan. Both are talented on the camera but wow they were able to engineer something so wonderful behind the camera. I'm definitely intrigued to see if the duo decide to continue with film-making an writing.

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Old-fashioned filmmaking with a progressive theme
Bertaut16 November 2018
The directorial debut of actor Paul Dano, Wildlife is based on the 1990 novel by Richard Ford, and is written for the screen by Dano and his girlfriend Zoe Kazan. Looking at the implosion of a family from the perspective of a 14-year-old member of said family, the film is thematically similar to Revolutionary Road (2008) and Blue Valentine (2010), and aesthetically similar to the Texas scenes in The Tree of Life (2011) (the period detail drips off the screen, whilst the use of a child as the focaliser colours much of what's depicted). And although Wildlife is a piece of remarkably nostalgic filmmaking, at the same time, it tells somewhat of a progressive story, demonstrating the uncertainty with which second-wave feminism manifested itself at a grassroots level prior to really taking off in 1963. Although it's essentially a character study, the film also suggests the 1950s-style clean-cut, neatly trimmed, rigidly defined way of life, built around the perfect nuclear family wherein a wife must be subservient to her husband, is about to become a thing of the past.

Set in Great Falls, Montana in 1960, the film tells the story of the peripatetic Brinson family; father Jerry (Jake Gyllenhaal), mother Jeannette (Carey Mulligan), and 14-year-old son Joe (Ed Oxenbould). When Jerry loses his job and takes off in a misguided attempt to reaffirm his masculinity by fighting a forest fire, something is awoken in Jeanette, who, for the first time, allows herself to admit she has become deeply unhappy, and overnight, her behaviour changes dramatically, as she rebels against her domesticity. Determined to forge a new identity, she is adamant she won't become one of the "standing dead" (the term used for trees that survive a forest fire).

Importantly, the film is set three years prior to Betty Friedan's ground-breaking The Feminine Mystique (1963), which redefined the parameters of all gender-based topics, depicting a society in which women were no longer content to do their husband's bidding and raise children. Initially, Jeanette is depicted as a quintessential 1950s wife and mother, almost to the point of cliché; she cooks, cleans, washes the clothes, does the dishes, sees that Joe attend to his homework, and when Jerry loses his job, it is Jeanette who goes out looking for work for both of them. She knows that her (unspoken and unacknowledged) role in this patriarchal society is to hold the family together, but it's a role that is nothing like she thought it would be when she was younger. Although she and Jerry seem to love one another, or they certainly used to, she clearly feels trapped by her domestic situation.

That her transformation happens so quickly is the key point; when she goes to bed, she's a wife and mother, trapped in her domestic environment, but when she wakes the next morning, she realises that she has an opportunity to escape, perhaps the best opportunity she will ever get. This has been building up for years, but she has gotten so used to feeling lost that when she gets a chance to change things, she doesn't even recognise it as such, at least not at first. Once she does, however, Jeanette makes a conscious decision to stop performing the role delegated by men. As much of the female population of the western hemisphere would be asking over the next ten or so years, Jeanette wants to know, "is this all there is?" She wants more than simply getting through the day. In this sense, she recalls Nora Helmer from Henrik Ibsen's A Doll's House (1879), or any number of Tennessee Williams heroines - a woman who wakes up to find she has become deeply unhappy despite attaining everything she once wanted, and who sets out to do whatever it takes to alter her course.

That all is not well in the Brinson household is hinted at in the opening scene, where Jerry and Jeanette have a couple of inconsequential but noticeable disagreements over dinner (such as whether Joe should continue pursuing football). This scene establishes an assuredness and subtlety-of-hand that lasts for the entire film, with Dano's directorial work proving unexpectedly sophisticated. For example, something he does several times is have characters walk off-screen to speak, whilst keeping the camera trained on Joe as he tries to listen, with the dialogue barely perceptible from just off the edge of the frame. As well as being an excellent use of off-screen space, something you don't see too often, this technique ties us rigidly to Joe's POV early on, inculcating us into his worldview. Another very nice piece of direction is an early montage cutting between Jeanette riding her bike, Jerry driving the car, and Joe riding the bus, in which each character is facing a different direction, each in isolation from the other two. It's basic cinematic shorthand, showing instead of telling, but it's very well done. Equally impressive is the penultimate scene, where Dano uses the windows of the Brinson house to block the characters in such a way as to suggest both their inner emotions, and the prevailing theme at this point of the film. For the most part, however, Dano's direction is invisible, relying far more on static painterly compositions than camera movement.

The acting, as you would expect, is universally superb. On paper, Jeanette and Warren Miller (a superb Bill Camp), an older man who becomes romantically interested in her, are very much the villains of the piece, but Mulligan and Camp's performances are so full of warmth and genuine emotion that you simply can't look at them as antagonists, and the film itself never judges them. Mulligan plays Jeanette as utterly weary, much older than her years, at times fragile, at times rock solid, both vulnerable and manipulative. Full of anger, she simply can't hold in her emotions any more. Unfortunately, in letting them out, she betrays Joe by forgetting he is only 14-years-old. When she starts drunkenly dancing with him at Miller's house, the scene is deeply uncomfortable, but Mulligan's performance is such that we don't condemn her, at least, not completely. She never allows the audience to lose sight of the fact that although she is behaving rather poorly, she is a prisoner, and is reacting against her restraints as best she can.

Of course, there are a few problems. Essentially a tale of marital angst, the narrative is not especially original - we've seen this story before, many times in fact, and for all the craft on display, Dano never really manages to say anything wholly new. Additionally, his measured direction is also too good in places - everything is so ordered, neat, and trim, that at times, the milieu doesn't seem lived-in, but more an abstract concept of what the period was like. Additionally, there are a few lines that sound great on paper, but which are just not the kind of things one says in real life. For example, Jeanette tells Joe, "I feel like I need to wake up, but I don't know what from, or what to". Later she says, "I wish I was dead. If you have a better plan for me, tell me. Maybe it'll be better than this". This kind of dialogue seems more interested in hitting thematic waypoints than developing character beats. Similarly, late in the film, Jerry says to Joe, "It's a wild life. Isn't it, son?" Proclaiming the film's title in this context doesn't even remotely work, and the line feels totally out of place, to the point of ripping you out of the narrative.

On the one hand, Wildlife is about how society was changing in 1960, and on the other, about how that change manifests itself within the Brinson family. Yes, it's another "death of the American dream" story in a long line of such films, but here, the focus is, for the most part, on character rather than theme, with Jeanette functioning in kind of a synecdochical manner; our specific entry point, she is the individual that facilitates an examination of the masses. And yes, Dano may take his eye off the ball a couple of times, with the odd bit of clunky dialogue, and a somewhat too picture-postcard perfection, but all in all, this is an excellent directorial debut.
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Overhyped debute
Dandido17 November 2018
Warning: Spoilers
I watched this movie yesterday at Stockholm Film Festival and what a disappointment it was. I like Paul Dano as an actor a lot and had read promising reviews of the movie beforehand. Just before watching Wildlife I had seen the Palm Dior winner Shoplifters which was a wonderful piece of cinema. Maybe having seen such a wonderful movie before watching Wildlife had a negative impact of my view on Wildlife, but still, Wildlife was still the worst movie I have seen in several years. Let me explain why. There's so much I find bad about this movie that I don't have enough time to write thoroughly about it all. Maybe I will come back to this review when I have more time to update it.

First of all, I found the characters to be completely unbelievable and confusing. Jake Gyllenhaal as a dad was then out of nowhere he starts drinking, refuses to accept his job back and decides to go fight wildfires.

The son who was supposed to be 14 looks like he is 17.

The story about the girl hanging out with the son is completely forced, unnecessary and leads to nothing.

The mother does not try to hide from her son that she's cheating on her husband. She even invites the son to a dinner at his house. Then she proceeds to dance with first her son and then the man she's cheating with in front of her son, while repeatadly singing on a infuriatingly irritating "cha-cha-cha". It was one of the most cringe-worthy scenes I've ever seen in my whole life. I had to laugh and I heard several other people in the audience do the same. This happened at several times in the movie.

The son does not seem to be able to display any other emotion than disbelief by looking stupid with his mouth half open.

I had a few good laughs while watching this movie. See Shoplifters instead if you're looking for a good movie.
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Overhyped Paul Dano Directorial Debut
yogagalCO4 November 2018
I saw this film last night as part of the Denver Film Festival special presentations section. "Fine performances" cannot save this slow-moving, depressing drama. If you want to spend nearly two hours watching the disintegration of a marriage in a miserable Montana town set amidst the bland 1960's setting of baseball games on the radio and mostly empty streets of the western town where they filmed this drivel, then have at it. Ed Oxenbould as the son gives an interesting performance.
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Annoying Family Drama
beep-739262 January 2019
Not much to recommend this film. The acting was good and the cinematography was decent but he story lacks any kind of hook to keep you interested. How many domestic disputes can we tolerate. Family dramas of any kind are now at the bottom of my list.

The worst part was the sound editing. The background noise, sound effects and music was much too loud and the dialogue parts were too low in volume. I couldn't hear a lot that was being said. No excuse for this sort of flaw. So, it's watchable, but not really listenable. Some actors should stick to acting and leave the directing to pros (Paul).
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A confident and well-made directorial debut that's unfortunately pretty unmemorable.
Pjtaylor-96-13804418 November 2018
'Wildlife (2018)' is well made in every way, with its fantastic performances combining with its restrained but assured direction and solid but somewhat unremarkable script to paint a realistic portrait of a failing family seen through the slightly immature yet more world-weary than he's given credit for young lead. The piece isn't necessarily all that powerful, though, and is, sadly, pretty unmemorable, to boot. It's a bit of a strange case because I was invested in the story, characters and overall world right from the off, always involved in its twists and turns and feeling as though I was participating in its narrative (in the sense that I wasn't spoon-fed everything), but I literally forgot I had even seen the feature not two hours after getting home from the cinema, only remembering after being reminded what it was I'd just watched, which doesn't bode well for its overall lasting impact. It also marks it, perhaps, as an experience more adept at setting up a confident new directorial talent than anything else, one rife with opportunity for its actors to impressively stretch their 'acting muscles' and for its plot to portray a more nuanced view of its core players than we usually see in typical 'Hollywood' fare. Of course, your mileage will vary depending on how much it connects with you, and I'd easily reccomended giving it a watch at least once. 6/10
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A powerful film
sylvia12010 November 2018
I thoroughly responded to this film and felt like I'd been pulled through a knothole when it was over. Everything seemed so authentic, the settings, the furniture, the streets. All the actors were perfect....my only complaint was that Mulligan was very hard to hear....I felt that I missed about 60% of her dialog, but it didn't seem to matter. You knew what she was going through anyhow.
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Slow and sad
thomas19902311 November 2018
It's a sad story, and so slow. Did not enjoy it in the slightest
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Favorite Jake Gyllenhaal film!
twistertwisty52 February 2019
I am a huge Jake Gyllenhaal fan and make it a priority to watch all of his films. At first when I saw the Wildlife trailer I was excited because it looked like it would be good. And after watching the film I was pleasantly surprised that it's actually one of my favorite Jake Gyllenhaal films. The cinematography is beautifu! The pace is slow but a good kind of slow. I love the realism on how a child sees both parents going through marital problems and there are issues on both sides. The performances by everyone was as good as it can get. Only issue I can say is that I was hoping Ed Oxenbould's character would have a moment of complete anger towards his parents but still was a great movie.
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Excellent performances
fccs235212 January 2019
All actors are top-notch, and the kid is perfect. This film beautifully and subtly captures the upheaval felt by the son, and the parents' almost obliviousness to it.
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a product of that era
ferguson-623 October 2018
Warning: Spoilers
Greetings again from the darkness. Actors becoming directors is a Hollywood tradition going back many years, although it seems to be quite the trend these days. Just within the past 3 weeks, there have been feature film directorial debuts from Bradley Cooper, Jonah Hill, and now Paul Dano. You surely know Mr. Dano from his work as the uber-quiet brother from LITTLE MISS SUNSHINE, his dual role in THERE WILL BE BLOOD, and his turn as the early years' Brian Wilson in LOVE & MERCY. He's a talented actor who now flaunts a near-master's grasp of filmmaking.

It's Montana in 1960 when we meet the Brinsons, a typical family of dad Jerry (Jake Gyllenhaal), mom Jeanette (Carey Mulligan), and 14 year old son Joe (Ed Oxenbould). Jerry is a gregarious golf course employee, Jeanette is a former substitute teacher - now stay at home mom, and Joe is a mostly normal teenager who only attempts to play football in order to make his dad proud, and needs his mom's help on his math homework. Jerry drinks a few beers each night and Jeanette cooks a nice family dinner. Nothing to see here.

This idyllic world is shaken to its core when Jerry gets fired from his job for not respecting the boundaries with club members (not what you're thinking), and his manly pride won't allow him to return to the job when the club reconsiders. Jeanette does what moms do - she takes a job as a swim teacher at the local YMCA to tide them over until Jerry can find a new job. It's at this point when we realize son Joe has extraordinary observation skills for a teenage boy, and he has a front row seat to a disintegrating marriage. Bearing the shame and frustration of a man in this era who can't provide for his family, Jerry abruptly leaves to go fight an out of control forest fire in the mountains. Joe longs for normalcy - the only life he had known to this point.

Joe watches in quiet confusion as his mother evolves from doting housewife and caring mother to something and someone he doesn't recognize. She changes how she talks, how she dresses and how she acts. Jeanette is experiencing the contradiction of knowing she needs a man, and not liking that feeling one bit. She latches on to a local car dealer named Warren Miller (Bill Camp). Miller is basically a master-predator seizing on his injured prey through the power of money and promise of stability, and this makes for some uncomfortable situations both for us as viewers and for Joe watching his mom. This is a family drama that doubles as insight into the changing times - what defines happiness, what role to women play, how involved are kids in household. Based on a book by Richard Ford, the screenplay is co-written by director Dano and his long-time girlfriend Zoe Kazan (RUBY SPARKS, 2012). The story is one part feminist, one part coming-of-age, and one part societal shift. These are fully drawn, complex individuals that walk, talk and react like people tend to.

As Jerry, Jake Gyllenhaal is excellent in his limited scenes, and Ed Oxenbould is an intriguing young actor and captures the essence of young Joe - especially that moment when kids realize their parents are individuals, not just devices put on earth to serve kids. This is Joe's story, but it's Mulligan's film. What a terrific performance she delivers, which is not surprising, given her track record. Here she makes us feel everything Jeanette feels, and though this isn't the kind of movie to reach out and grab you, Ms. Mulligan's performance likely will. There is an expressive score, heavy on the woodwinds, from David Lang; and the cinematography from Diego Garcia is also spot on for era - as is the authentic set design. Mr. Dano has delivered an exceptional piece of filmmaking for what will likely be a very limited audience. Those that seek it out will be rewarded.
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Pure class
beattygallery-127935 November 2018
Paul Dano, Richard Ford,Carey Mulligan....what a trifecta. Toss in Ed Oxenbould & Jake Gyllenhaal....delicious. That Oxenbould is someone to watch & Dano knows.

Of course I own all of Richard Fords books and met him at the Sydney Book Festival some years back. Those ice blue eyes and switched on intellect just like Paul Dano. So happy someone is brave enough to tackle Ford just as Robert Altman embraced Raymond Carver.

As soon as I learned this was Danos debut it was a must see. It had limited release in Sydney so travelled quite a distance to a cinema in an area I'd never visited. Its a big city. Five strangers were waiting to go in. I asked one if they knew the area postcode & everyone laughed as we'd all left our comfort zones for Danos debut movie and had no idea.

Visually gorgeous, script & pacing smoooooth as......faultless acting & someone directing who respects other artists, understands complex emotions & embraces what makes a memorable, enduring movie. Pure class.

Where would we be without such wonderful creatives. Thank you everybody.....and yes I did find my way home.
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The snow will put it out
nogodnomasters25 January 2019
Warning: Spoilers
In the 1960s the Brinson family moves around and finds themselves in Montana. Jerry (Jake Gyllenhaal) loses his job as his wife Jeanette (Carey Mulligan) and teen son Joe (Ed Oxenbould) take on jobs to help out. Jerry decides he is going to fight fires and temporarily leaves his family. Mom, at age 34, finds passion and security with an older man (Bill Camp). Joe is caught in the middle.

In the early 60s, divorce was rare. Growing up in this era, I could count the number of couples I knew who were divorced on one finger. People worked through their problems and infidelities. Jake Gyllenhaal tends to take roles that are odd or boring. This one was no different. While I will grant you some good performances (Ed Oxenbould sucked), the plot went nowhere and the drama didn't do it for me.

Guide: No F-words.
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2 stars just for the cast
disdainisme4 January 2019
Great cast. Terribly written and so slow it actually made 2 people fall asleep. I get what they were going for but they really missed the mark. It was a pretty annoying movie. A lot of hype for this film so I was happy to see it. When you see people leave mid way its a terrible sign

This is an easy skip..
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Basic storytelling violated for the sake of "art" or something
baronjeric13 February 2019
Warning: Spoilers
The Good:

Jake Gyllenhaal has insane acting range. Every single scene, by itself, with him in it is explosive, gripping, tense.

The Bad:

  • Jake Gyllenhaal isn't in a significant portion of the movie
  • I can't tell who the main character is. I suppose it's the boy, but he never makes a single decision to impact the story. He passively observes everything that's happening around him with no will or power to stop or change anything.
  • The mother is the single most dislikable character I've seen recently, and ironically, oocupies the most screen time and has the most lines. Nothing she says resonates, or is belivable.

Unless you're a Jake Gyllenhaal fanboy, or are really really bored, this is a must miss.
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What a load of...
jacobmounter11 June 2019
Warning: Spoilers
ACTING: The casting of the son was so wrong. He looked nothing like his parents and it was super off putting. He's a great actor but he was not right for the role at all. Jake was the bomb as always, and Carey was ok, if not meh. She almost cracks a smile at one point when she's supposed to be serious. STORY: I was disappointed at the ending, where Jake's character essentially finds out his wife's been seeing another man, WITH HIS SON AROUND. I was looking forward for something super dark, since my blood had been boiling throughout the film at the wife's infidelity and disgusting character. And what happens? He pours a bit of gasoline on the porch and sets it on fire. A small fire at that. All is forgiven, and we get this wishy washy ending where everyone is affraid to confront what actually happened... really unsatisfying. DANO: The director / writer did very well for his first movie, he has had extensive life experience of what a great film looks like so this makes perfect sense. My only gripe is that some of the shots are really badly framed. Like when the phone rings and the boy sits up on the couch. Half his head is going off frame. These sort of mistakes take you out of the movie, make you realise, oh yeah I'm staring at a screen. Anyway, decent movie, but extremely forgettable with nothing really to take away except that you should do what's right for your kids and not marry stupid untrustworthy gold digging women.
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kerrydavut5 January 2019
This movie did not deserve the 7.2 rating it received. Although the acting was good, It was very depressing, boring and I would not recommend this movie to anyone. It was a waste of two hours of my life! Don't waste your time people. It lacked substance and credibility. Such a let down. Seriously crap!
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Spare me
roger-batten1 April 2019
So slow it almost expired. Mind numbingley tedious. I was the only one who hung in there until the end. I suppose that was a (personal) triumph, which was more than could be said of the film!
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Total waste of time!
boractenis20 January 2019
Movie without any point and conclusion. Total waste of time. Worst Hollywood rubish is getting worse every day. Point: Go mums fu.. around as much as you wish, life is beautiful.

You will get it one day, but it will be late.
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Slow and boring
windsorenquirer4 January 2019
Extremely slow and boring. It was like watching paint dry.
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Seriously don't waste your time
kimo_uae3 January 2019
It's my first time to review a movie, it's just waist of time Movie is good to keep you expecting something will happen but seriously nothing will happen at all Waist of time and big disappointment
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