Crimen imperdonable

I really liked "In the Bedroom" the first time I saw it. It's a movie with a monster who does not look like a monster. I recently watched the ending and appreciated the craft of the entire crew, especially the director in the choices he made. For me the movie is not about the crimes committed or who are your friends when times are bad, rather it's about that little monster that we have inside of us that when given the chance will choose for us to be and do unthinkable things.

There are a lot movies that I've seen that never warrant a second look, much less a third or fourth. That's because the director has played all of his/her cards right up front. Once you seen the movie once there is nothing else to see. With "In the Bedroom" I noticed the quiet, there was no constant music theme interrupting my thoughts. I noticed the performances of Wilkinson, Spacek and Marisa Tomei.. The Tomei role intrigued me. I remembered her best as Lisa Bonet cocky room mate in the first season of TV sitcom "A Different World". I noticed the crabs and the town, how there seemed be no diversity.

My second look, had me pay closer attention to monster, played with perfection by Sissy Spacek. Even in her mid fifties Sissy Spacek is cute and we all had cute monsters in our life. Monsters are things that a far more relentless then we are. Monsters get what they want, with out ever compromising. They are unreasonable, like Javier Bardem in "No Country for Old Men" or Daniel Day-Lewis, in "There Will Be Blood". Movies where the monster wins leaves the audience dissatisfied, but will to go back and take another look. My most recent look got me paying attention to the scenery, how beautiful old towns, bay views, dense forest and sea ports are. That no matter how beautiful nature is, it is relentless and will get its way.

Sometimes, it's fun to go see a movie without having any expectations, or even having knowledge of the basic plot or premise. It's also nice to see a movie that would usually get ignored in a crowded market get a large amount of attention without having the plot be too obvious from trailers or commercials. Although In the Bedroom has been in theatres for a number of months, it's only recently started getting attention and positive word of mouth after Sissy Spacek's Golden Globe nomination.

Tom Wilkinson plays Dr. Matt Fowler and Sissy Spacek plays his music teacher wife, an older couple living in a small Maine fishing town, who become worried when their only son becomes involved with an older woman with two kids, played by Marisa Tomei. Their worries soon prove to be warranted, as the woman and her estranged husband proceed to destroy the teenager's life. Ultimately, it has a devastating effect on the couple's everyday life and their relationship.

This movie is a fascinating and powerful character study of people in a small town and how conflict and tragedy affect them. It is a story that takes place in three clear-cut acts separated by two twists, both of which take the viewer by surprise although they're both foreshadowed and somewhat expected.

It's hard not to compare this movie to the recently released Monster's Ball, one of my least favorite movies of last year, but it's a fair comparison, since it also showed a series of tragic and sudden events and how they affect the people in a small town. Unlike Monster's Ball, I found the actions and emotions of the characters in this movie to be a lot more plausible, and you can't help feeling the despair of the couple as they deal with their son's problems.

In the Bedroom also compares to last year's The Deep End, and Sam Raimi's underrated A Simple Plan, two other slow movies that dealt with how small town folk deal with problems and how those problems sometimes lead to more drastic actions. It's never clear whether the Fowlers disapprove of their son's relationship is because the woman is older and has two kids or because of the problems that her estranged husband brings to the relationship. At times, it seems like the Fowlers' only worry is that their son may not go to college in order to stick around and take care of his older lover and her kids.

Either way, the parents starts to drift apart due to their overpowering sense of grief and inability to change things, and it's not long before they're playing the blame game on who is responsible for their son's situation. When they finally explode, it's one of the most powerful film moments in recent memory. The shorter third act shows how they learn to cope and deal with their problems.

Despite the slow pace and the excessive length, the performances and the beautiful yet subdued camerawork and choice of setting keeps the viewer riveted to the screen.

It's been far too long since we've seen Sissy Spacek in a movie, and like this year's other comeback kid, Robert Redford, her age is showing. But her age also makes her perfect for the role of Ruth Lawler, as her world -weary eyes seem suitably representative of Ruth's own frustrations.

Like last year's The Deep End and The Others, this movie shows how an over-protective mother can alienate her children while trying to help them. Spacek gives another groundbreaking performance that shows talented yet less experienced actresses Tilda Swinton. Nicole Kidman and especially Halle Berry how to create realistic emotions on screen. Late in the movie, there is a particularly tense yet short confrontation between Spacek and Marisa Tomei that shows how much better these two actresses are.

Tom Wilkinson has played comedic parts in The Full Monty and has appeared in a number of period pieces including Sense and Sensibility and The Patriot. In the Bedroom proves him to be quite a talented dramatic lead actor, as his performance allows him the full range of emotions, and he creates a character as believable and real as Spacek's.

First-time director Todd Field is probably best known as playing Nick Nightingale, the pianist who gets Tom Cruise in a bit of trouble in Stanley Kubrick's Eyes Wide Shut. Field uses the Maine setting beautifully to create a portrait of the couple's life, and he uses the pacing to create insurmountable tension before driving a wedge between the couple. The script by Field and Robert Festinger is one of the better ones of the year with dialogue that is far too real, yet perfectly suited for talents such as Spacek and Wilkinson.

Obviously, this movie will be getting a good deal of Oscar attention due to the performances by Spacek, Wilkinson, Tomei, and the terrific script. If you want to see action, go see Blackhawk Down; if you want to see the fine form of filmmaking as perfected by two master thespians and a talented new director, than In the Bedroom will have you riveted to the screen. Rating: 9 out of 10

Every once in awhile, a filmmaker comes along and adds a pitch-perfect sensibility to a compelling story, well-written script, and perfect cast. This has happened with In the Bedroom. Though I saw, and enjoyed, director Todd Field's 2nd feature, Little Children, when it came out a few years back, I was truly astounded by In the Bedroom.

At a time when Americans' tastes in films are getting more and more juvenile, In the Bedroom is that rare film; one aimed adults. The characters and story line is compelling, the shots kept simple, yet beautiful, and the feel of the film is as real as most you will see. In the Bedroom would fit in perfectly with the some of the films from golden age of the 70s film-making. Unfortunately, we are seeing this less and less of those types of films these days.

It is hard to find a false moment, whether in dialogue or behavior, in this film. It deals with circumstances that we hear about every day, yet is no less captivating because of it. We are not clobbered over the head with the moments we are meant to feel deeply, yet they are apparent and often devastating to watch. There is an old saying, "you know the truth when you see it", and that certainly applies to this film. There was a knot in my stomach the entire first 30 minutes of the film, as director Field slowly builds to something you know is inevitable, and almost can't bare to watch.

Excellent performances turned in by Spacek, Wilkinson, Tomei, as well as all the supporting players. Proof, once again, that actors often make some of the finest directors.

So simple. So honest. So heartbreaking. I dare you to see this movie and not go through a self-invasive, heartfelt understanding for the familial and emotional conflicts these characters go through. one of the best films shown at Sundance, hands down. Not a movie for the emotionally squeamish...brutally powerful... Violent, excruciating truth and beauty...the raw emotional power imbued into the scenes with Wilkinson and Spacek are Oscar-worthy. Marisa Tomei finally gets a role worthy of her talent since My Cousin Vinny. Utterly unforgettable, and a slam-dunk certainty for some kind of oscar, whether screenplay, acting, or directorial.

Wow.

Todd Field's IN THE BEDROOM is an artistic and realistic portrait of domestic trouble in small-town America. Sissy Spacek and Tom Wilkinson star as Ruth and Matt Fowler, the parents of a recent high school graduate, Frank (Nick Stahl), who has an affair with a married woman, Natalie (Marisa Tomei). A tragic event near the beginning of the film seems to stunt its action and dialogue, allowing the film to change into a largely visual piece based on memories, feelings, and silent communication; while the film's slow-moving camera, soft sunny lighting, and cautious pacing give it a resonating intensity.

Set in coastal Maine, the Fowlers are a well-liked family with simple, straightforward values. Dr. Fowler has his own small medical practice. Mrs. Fowler directs the chorus at the high school. Frank is a good kid who is working on the fishing docks for the summer, waiting for college in the fall. Frank falls into a summer romance with Natalie, an older woman with two young sons and a creepy, lurking husband (William Mapother) from whom she is separated. The relationship is worrisome to Mr. and Mrs. Fowler, but they want to be supportive of their son so they gently nudge him to think about the bigger picture, without being overbearing. But when the unthinkable happens, Mr. and Mrs. Fowler come face to face with their worst nightmare. Quietly, calmly, and with the most logic they can muster, they begin a dark and dangerous psychological journey. The result, reinforced by stunning performances from Wilkinson and Spacek, is a pensive, penetrating, and utterly believable story.