User reviews

"The Nest" was totally preaching to this choir.

The older we get, the more my wife and I find ourselves drifting into the life philosophy of minimalism. Our focus is on cutting all the junk out of our lives, not just material junk, but psychological and emotional junk as well. This means deciding where are priorities are, what's important to us, and eliminating things and people that interfere with that.

The patriarch in "The Nest," played by Jude Law, is pretty much the exact opposite of that. Never content with what he has (which is a lot when the movie starts, and more than most people on the planet will ever have) he insists on moving his family into a giant and decaying mansion in England in order to take a job that he knows will give him his big break. But it doesn't, and the effect his greedy lust for more, more, more has on his family comprises the plot of this movie. Law is very good, but Carrie Coon, as his wife, steals the show. Her character arc is the film's most fascinating element, a woman who's allowed herself to become subservient to her husband but for whom subservience doesn't come naturally. A couple of scenes, both set at dinner tables as it happens, where she asserts her dominance over her husband, are the film's most uncomfortable and memorable.

Some symbolism involving a pet horse is broadcast with all of the subtlety of a tornado siren, and the sheer unpleasantness of being around these miserable people may turn some viewers off, but I mostly found myself engaged with this one.

Grade: A-

IN BRIEF: A well acted but inconclusive psychological study.

JIM'S REVIEW: (RECOMMENDED) Change is not always a good thing. A little known independent film called The Nest proves that point rather well. Director / writer Sean Durkin sets an ominous tone from the onset in this psychological study about a family coming undone with their abrupt relocation from America to the UK. To say that the move does not go well is an understatement.

Rory O'Hara and his lovely wife, Allison, live the perfect storybook life. He is a rich trader and she is his pampered trophy wife caught in 80's opulence and living the good life. All seems well enough on the surface with the O'Hara's until Rory decides to head back to his hometown of London and uproot his family. One small problem: Rory is a grifter and liar and he and his family will be forced to make the ultimate sacrifices due to his overt actions.

The family dynamic is odd from the start. Unexplained circumstances occur with some subtle but mostly heavy-handed symbolism (a dark horse buried and suddenly exhumed, an expensive fur coat showing personal greed and wealth, doors unable to lock, hidden cigarette butts indicating rebellion, a wool sweater showing character enabling, etc.). The on-going tension slowly builds and personality traits morph these characters into totally different individuals,: Samantha (Oona Roche) becomes the defiant teenage daughter, Ben (Charlie Shotwell) morphs into a introverted young boy and the husband/wife tag team, expertly played by Jude Law and Carrie Coons, become a warring tribe sorting through all of their self-centered behaviors. Mr. Durkin's screenplay establishes its tone most effectively, but only hints at the betrayals and destructive behaviors of this family. Scenes of more direct conflict could have created to produce a more concise family portrait.

Still most of the film is atmospheric and engaging due to Sean Durkin's fine direction and the acting of Mr. Law and Ms. Coons as the battling spouses. They are very good in their roles and bring their characters' self-indulgences and bitternesses centerstage. Their explosive scenes are terrific when they finally arrive as they snipe and rage at each other, but they are rarely viewed. Most of their inner anger stays within, always simmering to the top, yet rarely brims over. As their children, both Ms. Roche and Mr. Shotwell are totally convincing as pawns in their parent's gamesmanship.

The Nest is a special type of film, more for those moviegoers interested in psychological tension, creepy atmosphere, and well-define characters than a plot-driven story with definite results. Despite much to admire, this nest is a tad empty. (GRADE: B-)

How can any one make his or her family move locations 4 times within a 10- year timeframe? Let alone move overseas with a horse? That poor horse portrayed the stress and trauma of the downfall of the parents. Moving requires the kids to be uprooted, costly, change of schools, making new friends, etc. As the mom, she could have said to her husband, "go to London and figure out your plan." But we wouldn't have this movie then. The mom never seemed to be at home with kids nor had her own career; yet she hid her own money for her own emergencies knowing that her husband is an over spender and superficial hedonistic possibly narcissistic delusional person pretending to be rich while drowning in debt:. I think, his wife, Allison is equally at fault for agreeing to move the 4th time while pretending her husband, Rory doesn't have a problem. Hello, did she not live with this guy for the past 15 years (having a teenage daughter and 10 year old). I know some jobs like the military and many other job require household moves but that would all be expected already and paid for by those organizations.

Nicely played and it does have some interesting themes but it never makes the most of them, feeling dramatically inert for long periods. All of the tense scenes are in the trailer, the rest is a rather humdrum, if never quite boring, collection of family scenes. Saved from being a 5 by the final few reels.

Sean Durkin's new film is a modest yet searing drama about a family that relocates from the United States to the English countryside after the father (Jude Law,) an entrepreneur, moves his job. The move eventually brings out a variety of conflicts between him and his wife. The film works best as both a layered character study of the two leads (Jude Law and Carrie Coon.) Both of them are very well-developed as characters, with their strengths yet deep-seated flaws thoughtfully communicated. Viewers are able to feel for both of them, and will understand their imperfections while simultaneously sympathizing with some aspects of their daily lives.

The film's aesthetic, including the score, are beautifully understated. This isn't a flashy film, but it's not trying to be. The score is ominous yet powerful and moody in the best way possible. The screenplay goes a great job ratcheting up dramatic tension between the husband and wife, while also providing careful context to the narrative on many levels-Jude Law's character's work situation, the characters' relations with others they meet while settling into life in the UK, and how they respond to difficult and adverse events. The main couple's children are also thoughtfully depicted in the script; the writing shows them to be dynamic yet shaped by a variety of external circumstances in their personal and familial lives. The acting is terrific across the board, as the main characters are able to clearly convey raw grit and anguish as their interpersonal relationships end up getting increasingly muddy and dysfunctional. All in all, this is a complex, smart and well-made look at the the impact of greed on our lives, as well as the intricacies that govern how we respond to each other during difficult and uncertain times. Despite all of these positive qualities, the third act is a bit underwhelming and fails to completely satisfy or pack the expected emotional wallop. Instead, it leaves us with a feeling that doesn't quite add up to the sum of its previous parts. As a result, the film is not a home run. Yet I do recommended it without hesitation to patient viewers who can appreciate challenging, slow-burn cinema. 7/10

It's the 80's. Ambitious commodities trader Rory O'Hara (Jude Law) returns to London taking his wife Allison (Carrie Coon) and their two kids. He is pushing for a big deal with a big payout. He is spending beyond his means and moves the family again to a country mansion. It causes friction with his wife and exacerbating their money trouble.

I like the idea of this family descending into dysfunction. I find a lot of it very compelling. Law and Coon are delivering intriguing performances. Filmmaker Sean Durkin, who made Martha Marcy May Marlene, is trying to give this film a quiet, naturalistic feel. It does need to be a bit clearer with the beginning. It's just too slow until the money troubles begin. That really raises the intensity and the movie picks up steam. Quite frankly, the start bored me to the point of passing out and I had to start over again. The passive filmmaking style is not conducive to paying attention.

Hoo boy, let the discussions flow.

It is rather lovely to soak in a well made piece of cinema that will no doubt elicit a bevy of experiences depending on the audience. "The Nest" has a basic mid-life family implosion crisis plot at it's core, but just how rotten is it?

Jude Law (Rory) is a slick talking investment advisor, living a comfortable New York life, with a pretty horse-training wife, and requisite two children. Yet he yearns for more. Soon the quartet are off to his England, to live in an isolated ancient mansion filled with too many rooms, a table so big it cannot leave the premises, and secret doors. Sounds like a horror movie, and in a sense, it is. Just not of the supernatural variety.

Law owns the screen as the flashy business stud, pushing all his chips into the middle of the table, dragging his reluctant dependents along for the ride. Carrie Coon (Allison) is his American match, willingly embracing her husband and his white lies until breaking point, then unleashing a vindictive, cruel yet understandable side in their escalating partnership.

Is this a family drama? An allegory for greed? A warning? A husband and wife coming to relationship climax?

A riveting turning point, actually one of many, has Allison beaming beside her man at a posh dinner party, as the boss welcomes him back to the English fold, revealing a devastating lie. Her smile doesn't break, but it is clear that there is trouble a foot. Much trouble. The husband and wife dance continues, but as finances spiral out of control, the tight solitary quartet starts to crack.

Every act is punctuated by a primo British new wave nugget from the likes of the Cure or Psychedelic Furs as a reminder we are in the eighties. It is a rather odd reminder, as the movie really doesn't depend on an era, other than referencing the greediness of the Reagan and Thatcher right uprising. It does elicit a weird alarm bell of nostalgia for anyone of that age, and perhaps was a bit of directorial self-indulgence. Not unwelcome mind you.

How and not why this plays out is the strength of this film. Blame is easy to hurl, but sometimes life is the problem.

A moody a piece of cinema, both visually and thematically, "The Nest" is a film that leaves an odd, bitter aftertaste, long after the main course is digested. A burner.

• hipCRANK

I rarely give 2 stars but this movie was painful. There is pretty much no dialog in the first 20 minutes as you just watch snippets of the family wake, eat, work, play, and then out of the blue, the dad says their moving to London (I promise I'm not exaggerating). When they get to London the family's dysfunction starts to emerge but, even though hardly anything really happens, there are so many plot holes, and paths that lead no where that it's just confusing...you keep waiting for something to happen. For a moment it seems to hint at a possible haunted house scenario with a locked door that inexplicably opens but that's it, nothing becomes of it and nothing else weird happens, so I question, what was the point? The movie is excruciatingly slow and dark and moody, just watching characters drive, work, stand, fight, smoke, and very little dialog throughout. Although the acting is decent, the characters are extremely unlikable so you don't even care what happens to them, nor can you relate to them. Scenes get thrown in with no explanation or follow through (the horse, the mother) which makes for many unanswered questions, and then it has an incomplete and abrupt ending. If you are able to finish the film you'll probably know the moral the writer/director is trying to convey, but most people won't enjoy the way he chose to illustrate it. This one is a hard pass IMHO!

It would be impossible for me to rate this file. My wife and I chose to watch this film looking for thriller. It turned out to be anything but. If I had to classify this film, I would call it psychological character study. As this is not what we expected to see, we spent the whole time wondering when the thriller elements would begin. When the ending credits started, we thought it was a complete waste of time and regretted not picking something else. If it was properly classified, it might be an excellent film. It might rate a 7 or more. If you expected a thriller as we did this would rate a 0 or 1 which is something I would never do.

"The Nest" (2020 release from the UK; 106 min.) brings the story of Rory and his wife Allison and their kids Samantha (14) and Benjamin (10). As the movie opens, we are in New York and watch "a day in the life" of this family. Next morning, Rory has news: he has a great job opportunity in London (where he hails from). Allison reluctantly agrees, and soon the family arrives in the UK at their new place in Surrey, a massive 17th century mansion. It's not long before tension rises... At this point we are 15 min. into the film but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it al plays out.

Couple of comments: this is the second feature-length film from writer-director Sean Durkin, who previously gave us the excellent "Martha Marcy May Marlene". Here he examines the consequences of uprooting a family from their familiar New York surroundings to a brand new and unfamiliar environment in the UK. This movie is plot-heavy and hence I'm not going to say a whole lot more, although I will say this: I found this movie classify, as it covers a number of different areas, although a generic 'family drama' could cover it. Also, the movie is set in the 1980s: there is reference to "President Reagan" on the radio, and 1980s music is a-plentiful including the Thompson Twins, the Cure, and many others. What I thought at the end of the film was this: "Money's Too Tight (To Mention)", the 1985 hit by Simply Red. Why? Just watch! Jude Law (as Rory) is excellent once again (he currently stars in the HBO mini-series "The Third Day"), and the same goes for Carrie Coon (for Allison). Beware: there are a few scenes in the movie involving horses that you may find difficult to stomach (I looked away).

"The Nest" premiered at this year's Sundance Film Festival (yea, pre-COVID-19) to good buzz. Then of course movie theaters shut down. The movie finally was recently released in select theaters, including my art-house theater here in Cincinnati, fully adhering to all COVID-19 protocols. Not that it mattered, as the Tuesday early evening screening where I saw this at was attended poorly: 2 people (including myself). If you are interested in a hard to classify 'family drama' or simple a fan of Jude Law or Carrie Coon, I'd readily suggest you check this out and draw your own conclusion.

I liked this movie, but as at least one other reviewer has pointed out, it doesn't really go anywhere. Which maybe is the state of many unhappy marriages, as that seems to be what the movie is trying to portray. The acting is amazing and while a bit slow at many points, I was pretty engaged in the story. However, unless you've lived the hopelessness of a failing marriage and the unmet promises inherent to one, I think it might be difficult to find much to relate to in the movie.

It is tough to describe actually and it is far removed from a popcorn movie. Which either makes for a great Sneak Preview movie (surprise film) or a bad one. Because some people would definitely not choose to go watch this. As I can attest and was witness too the other day. Especially with the popcorn crowd ... they are not the best audience for this one - and some of them were quite the talkers! It's ok with movies that have a lot of ... noise, but not with this.

So a very slow movie that warrants and needs patience from its viewers. A movie that is not entirely clear on its purpose on its goals. It may seem like a horror movie at times and in a very wicked sense it sometimes is too. But it does not really transcend into that genre, even if that creepy feeling may snek up on you.

Awesome acting all around and a throwback to the 80s that I reckon is close to American Psycho, but without all the flashy bits that would make this be a popcorn movie ... and not nearly as violent as that. But the vibe is there and it is really well done ... for those who are into the drama that is.

"Allison takes the cushy offer with a pinch of salt, as the family has already been relocated several times, but Rory doesn't really ask for her permission, but compliance. Once there, he immediately lavishes the family with luxury, renting a capacious mansion in Surrey, building a paddock and buying a new horse for Allison (because she is a cowgirl born and raised), enrolling their two children, Samantha (Roche) and Benjamin (Shotwell), in expensive private schools. But soon a crack appears on their ostensible easy street, but it is not as we are lead to expect, no, it is not a haunting mansion scare-fest, but the shattering distress it reveals is no less emphatic."

read my full review on my blog: cinema omnivore, thanks

I was fooled by the few good reviews it has and because of Jude Law. Those reviews must have been written by his fans. To cut to the chase, it's dull with boring characters in which they do nothing and the story goes nowhere. I know real people with more interesting lives than this. They should have made Rory a narcissist and maybe the others could have had more problems like alcoholism or drug taking. But sadly this wasn't the case. The ending was odd, they were sat at a table and then the credits went up! I've never seen that happen in a film. Clearly this is a lesson on how to not make a film. Don't waste your time with this, it isn't worth it.

Similar to the calculated and observational style of Stanley Kubrick and Yorgos Lanthimos, Sean Durkin's newest feature is a drama/horror tale about the dangers of greed and ambition. Jude Law and Carrie Coon each give career-best performances as a couple that is forced to come to terms with their increasingly meaningless lives. With the gap between the haves and the have nots becoming wider every day, this social critique is timely in the present and I suspect it will continue to be in the future.

The music was very good. The premise of the story was interesting. The acting was also good. I liked it until the terrible ending. Had really hoped for the ending to be satisfying but it missed the mark, did leave you thinking for anything. It was like writer gave up.

It was raining so I decided to take a chance on this film. I shouldn't have bothered about it. It was slow and boring. The disintegration of a yuppie marriage. That was it,nothing more and a total bore.