96 reviews
- WriterDave
- May 3, 2008
- Permalink
Greetings again from the darkness. Very good melodrama from Scandanavian director Susanne Bier. The film is intentionally slow moving ... just like real life tragedy. Although we could have been beaten over the head with the cute as heck kids, the story is actually more focused on the heroin addicted best friend played by Benecio del Toro. This makes the point that strength can come from many sources.
Halle Berry gives her best performance since "Monster's Ball" (yes even better than "Catwoman"). We feel her happiness, pain, desperation and hope. The cute kids are played by an amazing 11 yr old Alexis Llewellyn and Micah Berry (not her real life son). Also strong is Alison Lohman, who just doesn't work enough these days. However the strongest performance is by Benecio. I am not sure if the role was written for him or if he just perfectly captures best friend Jerry. It is most complicated role and requires enormous depth.
I definitely recommend the film thanks to its basis in reality and fine performances and terrific direction. However, I will qualify it by saying that I don't believe it is quite in the class of "21 Grams"
Halle Berry gives her best performance since "Monster's Ball" (yes even better than "Catwoman"). We feel her happiness, pain, desperation and hope. The cute kids are played by an amazing 11 yr old Alexis Llewellyn and Micah Berry (not her real life son). Also strong is Alison Lohman, who just doesn't work enough these days. However the strongest performance is by Benecio. I am not sure if the role was written for him or if he just perfectly captures best friend Jerry. It is most complicated role and requires enormous depth.
I definitely recommend the film thanks to its basis in reality and fine performances and terrific direction. However, I will qualify it by saying that I don't believe it is quite in the class of "21 Grams"
- ferguson-6
- Oct 20, 2007
- Permalink
The Good: The writing and acting are top notch. The Bad: The hand held camera pans and scans and really, REALLY, close, close-ups are a little dis-concerting.
But Benicio DelToro is right on with his performance! Best acting I've seen in a while.
Saw the movie at a preview in Cleveland. The Theatre was packed, and the reaction from most people was that it was too heavy, too depressing. But it is exactly that quality that makes it ring true. The interplay between the neighbor that hates his wife and Benicio's character are perfect. A smaller role is played by Alison Lohman ( Matchstick Men ) was also very well acted.
A steadier camera without the wild pans and I would give it a 9 or 10.
But Benicio DelToro is right on with his performance! Best acting I've seen in a while.
Saw the movie at a preview in Cleveland. The Theatre was packed, and the reaction from most people was that it was too heavy, too depressing. But it is exactly that quality that makes it ring true. The interplay between the neighbor that hates his wife and Benicio's character are perfect. A smaller role is played by Alison Lohman ( Matchstick Men ) was also very well acted.
A steadier camera without the wild pans and I would give it a 9 or 10.
Bier tells a sensitive story of grieving and dealing with loss. The theme is quite heavy. While many have criticized the film for its slow pace and yes, Bier does take her time to tell the story, I did not see that as a disadvantage because this allows the viewer to really see the depth of the characters and how these people were deeply affected by tragedy.
A lot of it depends on the actors' performances. Their emotions look raw. Halle Berry is wonderfully restrained. This is the first superb performance of hers I have seen since 'Monster's Ball'. Not that she's been less than satisfactory in anything else but here she is given a well written part in a long time. Benicio Del Toro is fantastic too. Both capture the essence of their characters and interestingly portray Audrey's and Jerry's different ways of dealing with grief. Moreover, Jerry has to face the additional challenge of fighting his addiction. John Caroll Lynch, David Duchovny and Alison Lohman provide great support. The child actors are brilliant too.
On the technical side, it is a well-made film. The cinematography is good. The background score is gentle and 'quiet'. The sets are quite appealing. I liked the Audrey's house.
'Things We Lost In The Fire' is a strong depiction of grief. The theme might be a little too heavy for some and not everyone seems to 'get' it but it is a well-intentioned great movie that tells a moving story.
A lot of it depends on the actors' performances. Their emotions look raw. Halle Berry is wonderfully restrained. This is the first superb performance of hers I have seen since 'Monster's Ball'. Not that she's been less than satisfactory in anything else but here she is given a well written part in a long time. Benicio Del Toro is fantastic too. Both capture the essence of their characters and interestingly portray Audrey's and Jerry's different ways of dealing with grief. Moreover, Jerry has to face the additional challenge of fighting his addiction. John Caroll Lynch, David Duchovny and Alison Lohman provide great support. The child actors are brilliant too.
On the technical side, it is a well-made film. The cinematography is good. The background score is gentle and 'quiet'. The sets are quite appealing. I liked the Audrey's house.
'Things We Lost In The Fire' is a strong depiction of grief. The theme might be a little too heavy for some and not everyone seems to 'get' it but it is a well-intentioned great movie that tells a moving story.
- Chrysanthepop
- Mar 1, 2009
- Permalink
Things We Lost in the Fire shows the effects on family and unity after the death of a loved one. I can relate to this story knowing how much it hurts you missing that particular person everyday. The story of this film is pretty even well paced, yet a bit dragged in the beginning. Benicio Del Toro gives a very invigorating performance, possible one of his bests. Halle Berry really surprised me in this film. She really shows the stages of grief and acceptance very well and at one scene I thought Oscar worthy again. The supporting cast, specifically the children and the next door neighbor, were astounding. Good script, a little bit over with the tight close ups, but TWLITF makes you think about the loved ones close to you and how you should tell them everyday, "I love you and for that I will accept the good."
Went to a preview of this movie last night. I was blown away by the powerful performances of Benicio Del Torro and Halle Berry. Del Torro's performance was particularly moving - his best ever and Halle Berry definitely delivers. This is the story of a woman who appears to have been so invested in her husband as the center of her universe that when she tragically loses him, she turns to his best friend (who she has hated for years) to keep from losing her connection to her husband. In the course of events, she discovers the redeeming qualities her husband had always seen in him.
Del Torro gives a poignant performance of a drug addict who struggles to change his life after the loss of his best friend - with quiet dignity. A must see at least once. Although the movie is long, I can't imagine cutting one moment of this powerful story. Cinematically it's superb.
Everyone who knows anyone who has struggled with addiction will be gripped by the performance of Del Torro.
Del Torro gives a poignant performance of a drug addict who struggles to change his life after the loss of his best friend - with quiet dignity. A must see at least once. Although the movie is long, I can't imagine cutting one moment of this powerful story. Cinematically it's superb.
Everyone who knows anyone who has struggled with addiction will be gripped by the performance of Del Torro.
If you've seen her 2006 melodrama, "After the Wedding", you can clearly tell this is a Susanne Bier film as her signature style can be seen in the hand-held camera-work, the unexpected jump cuts and the heavy use of close-ups on the physical features of her principal actors during the most cathartic moments. The Danish-born director is an apt choice to guide this somber 2007 drama dealing with grief and addiction in the aftermath of an unexpected death. Showing the unfiltered responses to life-altering experiences appears to be Biers' specialty since that is exactly the focus of both films. This time, the set-up sounds more appropriate as the subject of a Lifetime TV-movie, but despite some severe contrivances, first-time screenwriter Allan Loeb is able to elevate the film by imbuing the situation with surprising candor and making the principal characters credibly flawed. Bier's distorted timeline is a bit of a nuisance at the outset, although this luckily becomes less of an issue as the movie progresses.
The plot hinges on the Good Samaritan death of Steven Burke, a successful Seattle-based real estate developer whose sense of decency and devotion inadvertently triggers a series of events leading to the tragedy. Left behind are two broken people - his angry, emotionally fragile wife Audrey, who has two small children to raise by herself now, and his close friend Jerry Sunborne, a one-time lawyer who has become a full-blown junkie constantly strung out on heroin in a depressing SRO unit downtown. Even though Audrey is distrustful of Jerry, Steven has remained loyal - a point of contention that after Steven's death, motivates Audrey to invite Jerry to stay in her half-finished garage after the funeral. Their relationship becomes confused but at least, it does not make a predictable turn toward a romance. Instead, we witness Audrey's almost instantaneous dependency on Jerry and her subsequent resentment of him when he becomes a father figure for her children. From that point, it becomes gradually clearer that both need to move forward with their lives in light of their personal limitations.
As Jerry, Benicio Del Toro inhabits his role to maximum effect, bringing a haunted quality that he leavens with his natural charisma. He is particularly harrowing during his character's detoxification, and you can't help but root for his recovery no matter how uncertain it may be. Finally challenged by a role comparable to her breakthrough in Marc Forster's "Monster's Ball", Halle Berry does an admirable job in portraying Audrey's prickliness while maintaining a sympathetic core. At the same time, she is saddled with more of the plot contrivances than Del Toro and has a breakdown scene that feels a bit too calculated. David Duchovny's natural likability helps make Steven more than just an elliptical plot device, though his screen time is understandably limited to brief flashbacks. Alexis Llewellyn and Micah Berry (no relation to Halle) believably play Audrey's children, while John Carroll Lynch (the prime suspect in "Zodiac") provides welcome comedy relief as the Burkes' jogging neighbor, a real estate broker who wants to help Jerry turn his life around. Even though his character is supportive to the point of being idealized, Omar Benson Miller effectively plays Audrey's too-good-to-be-true younger brother, and Alison Lohman ("White Oleander") shows up late in the film as a persistently inquisitive recovering addict.
The 2008 DVD is relatively sparse on extras. There is no commentary track from Bier or the principal actors, but there is a twenty-minute making-of featurette, "A Discussion About 'Things We Lost in the Fire'", which features comments from Bier, Loeb, producers Sam Mendes ("American Beauty") and Sam Mercer, Berry, Del Toro, Duchovny, Lohman and Miller. Most of the focus is on Bier and Mendes who discuss getting the film off the ground, how she works with the actors and how the look of the film was achieved. Running about nine minutes, seven deleted scenes are included, mainly filler dialogue scenes that were understandably excised except for one with Jerry and a fellow addict out on the streets. The last extra is the original theatrical trailer. By the way, the film's title refers to Audrey's emotional catharsis when she reads an inventory list of things that were destroyed in the garage during an electrical fire prior to Steven's death.
The plot hinges on the Good Samaritan death of Steven Burke, a successful Seattle-based real estate developer whose sense of decency and devotion inadvertently triggers a series of events leading to the tragedy. Left behind are two broken people - his angry, emotionally fragile wife Audrey, who has two small children to raise by herself now, and his close friend Jerry Sunborne, a one-time lawyer who has become a full-blown junkie constantly strung out on heroin in a depressing SRO unit downtown. Even though Audrey is distrustful of Jerry, Steven has remained loyal - a point of contention that after Steven's death, motivates Audrey to invite Jerry to stay in her half-finished garage after the funeral. Their relationship becomes confused but at least, it does not make a predictable turn toward a romance. Instead, we witness Audrey's almost instantaneous dependency on Jerry and her subsequent resentment of him when he becomes a father figure for her children. From that point, it becomes gradually clearer that both need to move forward with their lives in light of their personal limitations.
As Jerry, Benicio Del Toro inhabits his role to maximum effect, bringing a haunted quality that he leavens with his natural charisma. He is particularly harrowing during his character's detoxification, and you can't help but root for his recovery no matter how uncertain it may be. Finally challenged by a role comparable to her breakthrough in Marc Forster's "Monster's Ball", Halle Berry does an admirable job in portraying Audrey's prickliness while maintaining a sympathetic core. At the same time, she is saddled with more of the plot contrivances than Del Toro and has a breakdown scene that feels a bit too calculated. David Duchovny's natural likability helps make Steven more than just an elliptical plot device, though his screen time is understandably limited to brief flashbacks. Alexis Llewellyn and Micah Berry (no relation to Halle) believably play Audrey's children, while John Carroll Lynch (the prime suspect in "Zodiac") provides welcome comedy relief as the Burkes' jogging neighbor, a real estate broker who wants to help Jerry turn his life around. Even though his character is supportive to the point of being idealized, Omar Benson Miller effectively plays Audrey's too-good-to-be-true younger brother, and Alison Lohman ("White Oleander") shows up late in the film as a persistently inquisitive recovering addict.
The 2008 DVD is relatively sparse on extras. There is no commentary track from Bier or the principal actors, but there is a twenty-minute making-of featurette, "A Discussion About 'Things We Lost in the Fire'", which features comments from Bier, Loeb, producers Sam Mendes ("American Beauty") and Sam Mercer, Berry, Del Toro, Duchovny, Lohman and Miller. Most of the focus is on Bier and Mendes who discuss getting the film off the ground, how she works with the actors and how the look of the film was achieved. Running about nine minutes, seven deleted scenes are included, mainly filler dialogue scenes that were understandably excised except for one with Jerry and a fellow addict out on the streets. The last extra is the original theatrical trailer. By the way, the film's title refers to Audrey's emotional catharsis when she reads an inventory list of things that were destroyed in the garage during an electrical fire prior to Steven's death.
Saw this last evening at a preview screening here in Arizona and it was a LOT heavier than the trailer leads you to believe, which, I for one, was grateful for! Granted, this is only MY opinion, but I think that Halle does some of her best work in a long time here and for me, ranks up there with Monster's Ball and Losing Isaiah. Of course, Benecio is a great pleasure to watch as always, playing the demonized friend of David Duchovny, but I think Halle rises just a notch up everything here and truly shines! The supporting cast is also really enjoyable to watch, especially John Carroll Lynch playing a next door neighbor who finds an unlikely friend in Benecio's character. Great camera work and great direction all the way around and although the film is a bit long, I am glad the director had the wisdom not to rush through the story. Great film and I cannot wait to purchase it on DVD!
- JoeytheBrit
- Oct 2, 2008
- Permalink
I think a lot of people are skipping "Things We Lost In The Fire" because they think it is going to be depressing. While the film is definitely sad, it is not depressing because it is about coping and surviving in the face of tragedy. It is one of the best films of the year.
Halle Berry and Benicio Del Toro give amazing performances and it is unfortunate that there are not more films that take advantage of their talents. I bet Halle Berry would not make so many bad films if she were given more scripts like this. The photography and directing are first rate.
If you have enough interest in this movie to be reading this review, you need to run out and see "Things We Lost In The Fire." This is a film about the things that matter most in life. It will lose much of it's impact on video, so you need to see it on the big screen while you can.
Halle Berry and Benicio Del Toro give amazing performances and it is unfortunate that there are not more films that take advantage of their talents. I bet Halle Berry would not make so many bad films if she were given more scripts like this. The photography and directing are first rate.
If you have enough interest in this movie to be reading this review, you need to run out and see "Things We Lost In The Fire." This is a film about the things that matter most in life. It will lose much of it's impact on video, so you need to see it on the big screen while you can.
- brenttraft
- Oct 27, 2007
- Permalink
When loving husband Brian Burke (David Duchovny) gets unpurposefully murdered, when interfering with a couple's fight, his wife and mother of two Audrey (Halle Berry) is left to cope all by herself. Brian does leave a sizable amount of money, which guarantees her legroom, but the tragic death remains unbearable. Brian's best friend Jerry Sunborne (Benicio Del Toro) is a recurring drug addict, kept away from the family, but he nonetheless visited and helped out despite the spiralling downfall. The funeral of his friend serves as a way of connecting Audrey with Jerry, who ultimately takes in on herself to save him from the untimely narcotic fate.
In my mind Susanne Bier remains one of the most massively overrated modern-day directors. Essentially an executor of high-end dramatic drivel her most major flaw comes from attempts of integrated foreign elements into her story (the good doctor in Africa in "Haevnen" or an Afghanistan POW back-story in "Brodre") with such infantilism and well-intentioned but borderline misguided racism, that blow-back is inevitable. Nonetheless Sussane Bier is extremely effective and in-depth at uncovering frailties of family life, however any ventures outside her safety zone of first world reality are true calamities in her work.
Her fortunately the material stays close to home, giving a strong dramatic back-drop of the disruptive relationship of harrowing widow and recovering drug-addict. Nonetheless "Things We Lost in the Fire" feels at times like a compassionate top shelf family drama, occasionally glossy and with hints of soap opera, where the overall impact is increased by the powerful performance of Benicio del Toro. Every inch of his body aches and reacts, giving a truly masterful role, which is a real must. Whereas the story itself is intriguing, but somewhat unmemorable, images of del Toro and the pain, longing or remorse reverberating throughout his whole body is something that truly needs to be admired.
In my mind Susanne Bier remains one of the most massively overrated modern-day directors. Essentially an executor of high-end dramatic drivel her most major flaw comes from attempts of integrated foreign elements into her story (the good doctor in Africa in "Haevnen" or an Afghanistan POW back-story in "Brodre") with such infantilism and well-intentioned but borderline misguided racism, that blow-back is inevitable. Nonetheless Sussane Bier is extremely effective and in-depth at uncovering frailties of family life, however any ventures outside her safety zone of first world reality are true calamities in her work.
Her fortunately the material stays close to home, giving a strong dramatic back-drop of the disruptive relationship of harrowing widow and recovering drug-addict. Nonetheless "Things We Lost in the Fire" feels at times like a compassionate top shelf family drama, occasionally glossy and with hints of soap opera, where the overall impact is increased by the powerful performance of Benicio del Toro. Every inch of his body aches and reacts, giving a truly masterful role, which is a real must. Whereas the story itself is intriguing, but somewhat unmemorable, images of del Toro and the pain, longing or remorse reverberating throughout his whole body is something that truly needs to be admired.
This movie played out on screen like a book. It was so amazing to watch. I really loved how there was no music playing for like the first 15 minutes of the movie. This was one powerful film which is sure to get some Oscar nominations. Go see this film, it's a shame they didn't promote it better!
I was so impressed with Bencio Del Torro he gave one of the best male performances that I have seen in a movie in a while. He was so believable as a recovering heroine addict. Halle Berry was sensational as a wife who is now learning to cope with the loss of her husband. This movie has a really nice weave affect to it. It jumps back and forth from beginning to end, but in non-intrusive way. I would highly recommend this film to anyone who loves movies. It is now on the top of my must see movie list!
I was so impressed with Bencio Del Torro he gave one of the best male performances that I have seen in a movie in a while. He was so believable as a recovering heroine addict. Halle Berry was sensational as a wife who is now learning to cope with the loss of her husband. This movie has a really nice weave affect to it. It jumps back and forth from beginning to end, but in non-intrusive way. I would highly recommend this film to anyone who loves movies. It is now on the top of my must see movie list!
- RecoWilliams
- Oct 21, 2007
- Permalink
I very much liked the latest films of danish director Susanne Bier - from "Open Hearts" to "After the wedding".So I was waiting for her first American film with a mixture of anticipation and anxiety. Would she be able to keep her style or would it be "hollywoodized"? The answer is : Yes and Yes.It is a typical Bier- drama: Strong,true in its emotions and feelings.Bier has always been interested in the fragility of human life and emotions and so the films deals with loss,fear,hope,helplessness and the search for emotional affection. Again a character has to take responsibility in a new found family. Benicio del Toro and Halle Berry play two persons devastated by the death of a third,who try to stabilize their lives with the help of each other.Luckily the film never succumbs to the easy solution of a conventional romance and stays open till the end.The acting generally is excellent,also in minor roles by Duchovny and Lohman, but it's really del Toro's film.In every pore of his face we can feel the fight of a drug-addict to get clean and stay so. But the film also has its drawbacks.As a member of the Dogma Movement Bier always had a penchant for extreme close-ups.This can be very effective,but here she clearly overdid it.The amount of mostly eyes, cheeks and hands takes away the concentration of the viewer and makes the film in parts too slow.The development of the scenario is sometimes schematic and predictable.The smoothing influence of Hollywood is clearly noticeable.I would have liked to see this film as a danish production, written by Anders Thomas Jensen and played by Mikkelsen and S.B.Knudsen in the main roles.I'm sure the result would be rougher and nearer to life.What also annoyed me was the character of Duchovny: He is way too perfect, a superhuman good samaritan.To resume: For a Hollywood drama the film is quite good, for a Bier film it is slightly disappointing.
- nataliahberlanga
- Aug 15, 2023
- Permalink
While the movie itself was very even-paced throughout, it allowed time to process the emotions that were being conveyed so the slower-pace worked. This movie- everything from storyline to characters- was amazing and thought provoking. I'd recommend it for anyone who wants to see a movie full of heart, brilliant acting, and a unique storyline. The wonderful acting didn't stop with Halle and Benecio either- the supporting characters including the children were fantastic! There was simply so much heart and likability in those roles. It is the type of movie that remains your head even after you leave the theater which for me, doesn't happen often.
- Heather_Allen
- Oct 16, 2007
- Permalink
Brian Burke (David Duchovny) is best friend to junkie Jerry Sunborne (Benicio Del Toro). When Brian dies, Jerry tries to help Brian's wife Audrey (Halle Berry) and children. Audrey tries to break Jerry's habit. Alison Lohman plays a recovery friend, and John Carroll Lynch plays a friendly neighbor.
Danish director Susanne Bier brings a European sensibility. It's an unsettling series of emotional chaotic melodrama. Benicio Del Toro puts in a heart breaking performance. Halle Berry is playing a confused mess. It can be very slow especially in the first half. It settles down to a sad recovery for everyone.
Danish director Susanne Bier brings a European sensibility. It's an unsettling series of emotional chaotic melodrama. Benicio Del Toro puts in a heart breaking performance. Halle Berry is playing a confused mess. It can be very slow especially in the first half. It settles down to a sad recovery for everyone.
- SnoopyStyle
- Oct 27, 2013
- Permalink
Rather than offering the usual trite "Make Sure You Don't Miss This Film" I will simply say, "Don't Bother Watching Anything Else In 2008"
Having worked as a drug councilor back in the early 70s I can assure you that this stunning film doesn't just get it right when it comes to the horrors of heroin addiction it provides powerful hints as to the best way for an addict to make good his escape! Anyone working in the field would do well to buy the movie and watch it over and over and over. NA might also put it to good use within its groups.
But this flick is much, much more than a primer on drug addiction. It is simply one of the most moving and motivating flicks I've ever seen on the potential for creative change achievable through the decidedly Low Tech technique of people realizing that in the end the Bell Tolls Today for us all. Better yet it illustrates beautifully and with great emotional impacting the almost unbelievable potential inherent in the process of one and all
working towards something a bit larger than making selfish self come true.
My hat is off to everyone involved in this stunning piece of work! Brilliant script, brilliant directing, brilliant acting and some of the most innovative and creative camera work that I've every had the joy of experiencing!
Having worked as a drug councilor back in the early 70s I can assure you that this stunning film doesn't just get it right when it comes to the horrors of heroin addiction it provides powerful hints as to the best way for an addict to make good his escape! Anyone working in the field would do well to buy the movie and watch it over and over and over. NA might also put it to good use within its groups.
But this flick is much, much more than a primer on drug addiction. It is simply one of the most moving and motivating flicks I've ever seen on the potential for creative change achievable through the decidedly Low Tech technique of people realizing that in the end the Bell Tolls Today for us all. Better yet it illustrates beautifully and with great emotional impacting the almost unbelievable potential inherent in the process of one and all
working towards something a bit larger than making selfish self come true.
My hat is off to everyone involved in this stunning piece of work! Brilliant script, brilliant directing, brilliant acting and some of the most innovative and creative camera work that I've every had the joy of experiencing!
- bikerhiker46
- Mar 5, 2008
- Permalink
Shaun Munro's Reviews (ShaunMunro.co.uk):
Halle Berry is a great actress when she wants to be, yet has encountered a distinct poverty of meaty roles in recent years, instead opting for high-budget, high-concept studio pictures. Alas, "Things We Lost in the Fire" is something of a salvation for the actress who performed so memorably in Monsters Ball. Alongside the ever-brilliant Benicio Del Toro, Berry reminds us here that she can add dimension to a character, herein conveying an unrestrained sense of heartbreak with maturity and fiery zest.
The central theme of the film is coping, and moreover, surmounting one's problems, as Audrey Burke (Berry) experiences the irredeemable loss of her husband, Steven (Duchovny). Audrey is struggling to deal with her loss, even neglecting to let people know of the tragedy. The picture Bier paints is a highly authentic depiction of the fallout surrounding catastrophic loss, and amazingly, she also succeeds in engaging the viewer.
Jerry Sunborne (Del Toro), a long-time friend of Steven's, is a picture of depravity himself - a Heroin addict, yet, particularly in his interactions with Steven and Audrey's children, is a rather likable fellow. Del Toro narrowly manages to sidestep the clichéd "addict with a heart of gold" routine, remaining just distant enough to rouse a little unease.
At Steven's wake, and through a series of flashbacks, we gather the impression, at least at first, that he was nothing short of a Saint, and enjoyed a flawlessly happy family life. Fortunately, Bier employs the good sense to add layers to this dynamic, introducing a conflicting force, who happens to be Jerry himself. Steven was relentless in helping Jerry quit drugs, even visiting him at the sacrifice of his own family's happiness. In his life, Steven was wedged firmly between his decades-long friendship, and his family - it's a conundrum which spins the web that the rest of the film clings to.
Naturally, the death of Steven, the only stabilising force in his life, hits Jerry hard, violently knocking him off of the wagon. Furthermore, this occurs at a time at which Audrey, who seems to have few, if any friends, needs an emotional crutch - her family life is extremely strained, and she needs Jerry as an outlet, yet he is himself battling the uphill struggle of recovery.
In what is a materially strange spin, Audrey asks Jerry to move into the house, and in an even more bizarre spin, Audrey isn't offering it as charity - she is in fact taking charity from Jerry, who offers his company to help rebuild her life, and vicariously, rebuild his own.
As such, Bier, with all the subtlety of a mortar strike, postulates the possibility of Jerry becoming a surrogate patriarch to this now-fractured family unit. Thus, there is the standoff - two down-and-outters attempting to rebuild their lives, whilst one battles a drug addiction and the other the constrictions of raising a family.
The relationship between Jerry and Audrey is an incredibly curious one - she almost seems to use him at times, at one point quite literally utilising him as a substitute for her husband. Does Jerry feel as though he's betraying his deceased friend? Even though there's little-to-no sexual tension, the situation is unabatedly awkward, and it's clear what is ticking over in Jerry's mind. Curiously, though, Audrey brings Jerry his clothes, as well as breakfast every morning, and perhaps she feels the need to fill the void left by her widowdom.
The idea of Jerry serving as a surrogate is posited in very clear terms - Bier fortunately hazards no attempt to shy away from or disguise this fact, and the viewer feels less insulted as a result. Naturally, this angle forms the film's central, and ultimate conflict - Jerry simultaneously fights his habit and tries his hardest with Audrey's children, even accidentally upstaging his departed friend in one instance.
This dynamic is a test of the cohesiveness of this new, synthesised unit - Audrey is grief-stricken and angry, and this battles against Jerry's genuine attempts to help her cope with the transition of her new life, and as such aid himself. Together they stand, and divided they fall - Audrey's growing ambivalence causes Jerry to lose his own grip, and this co-dependence is almost systematic in its prevalence - one falters and the other does so almost immediately.
As cinematically accomplished as Things We Lost in the Fire Is, as the situation becomes more depraved, Bier manages to retain a certain grittiness, with our characters briefly foraying into the seedy, drug-addled underbelly of their town. Del Toro's performance is equally gritty and authentic as he attempts to once-and-for-all conquer his demons - his Jerry is as heartbreaking as he is well-acted.
The film does begin to lose its steam in the final scenes, namely with an overly-sentimental dinner scene, yet steamrolls this with one of marked intensity, showcasing Berry's acting chops at their most mature and schooled, thus allowing much-needed catharsis for her character.
By its end, Things We Lost in the Fire does become too bogged down in predictable sentimentality, but in the overall scheme of the narrative, it never takes a melodramatic, or predictable sexualised approach to the friendship between Jerry and Audrey. This is a story of friendship, overcoming demons, and coping with loss - nothing more sensationalised than that.
An Oscar contender this film should not be considered, yet it still retains a noted authenticity, as well as allowing Berry in particular to deliver one of the finest acting roles of her career. This film is compelling thanks to its avoidance of contrivances that lesser films would have exploited, and should be commended for that.
Halle Berry is a great actress when she wants to be, yet has encountered a distinct poverty of meaty roles in recent years, instead opting for high-budget, high-concept studio pictures. Alas, "Things We Lost in the Fire" is something of a salvation for the actress who performed so memorably in Monsters Ball. Alongside the ever-brilliant Benicio Del Toro, Berry reminds us here that she can add dimension to a character, herein conveying an unrestrained sense of heartbreak with maturity and fiery zest.
The central theme of the film is coping, and moreover, surmounting one's problems, as Audrey Burke (Berry) experiences the irredeemable loss of her husband, Steven (Duchovny). Audrey is struggling to deal with her loss, even neglecting to let people know of the tragedy. The picture Bier paints is a highly authentic depiction of the fallout surrounding catastrophic loss, and amazingly, she also succeeds in engaging the viewer.
Jerry Sunborne (Del Toro), a long-time friend of Steven's, is a picture of depravity himself - a Heroin addict, yet, particularly in his interactions with Steven and Audrey's children, is a rather likable fellow. Del Toro narrowly manages to sidestep the clichéd "addict with a heart of gold" routine, remaining just distant enough to rouse a little unease.
At Steven's wake, and through a series of flashbacks, we gather the impression, at least at first, that he was nothing short of a Saint, and enjoyed a flawlessly happy family life. Fortunately, Bier employs the good sense to add layers to this dynamic, introducing a conflicting force, who happens to be Jerry himself. Steven was relentless in helping Jerry quit drugs, even visiting him at the sacrifice of his own family's happiness. In his life, Steven was wedged firmly between his decades-long friendship, and his family - it's a conundrum which spins the web that the rest of the film clings to.
Naturally, the death of Steven, the only stabilising force in his life, hits Jerry hard, violently knocking him off of the wagon. Furthermore, this occurs at a time at which Audrey, who seems to have few, if any friends, needs an emotional crutch - her family life is extremely strained, and she needs Jerry as an outlet, yet he is himself battling the uphill struggle of recovery.
In what is a materially strange spin, Audrey asks Jerry to move into the house, and in an even more bizarre spin, Audrey isn't offering it as charity - she is in fact taking charity from Jerry, who offers his company to help rebuild her life, and vicariously, rebuild his own.
As such, Bier, with all the subtlety of a mortar strike, postulates the possibility of Jerry becoming a surrogate patriarch to this now-fractured family unit. Thus, there is the standoff - two down-and-outters attempting to rebuild their lives, whilst one battles a drug addiction and the other the constrictions of raising a family.
The relationship between Jerry and Audrey is an incredibly curious one - she almost seems to use him at times, at one point quite literally utilising him as a substitute for her husband. Does Jerry feel as though he's betraying his deceased friend? Even though there's little-to-no sexual tension, the situation is unabatedly awkward, and it's clear what is ticking over in Jerry's mind. Curiously, though, Audrey brings Jerry his clothes, as well as breakfast every morning, and perhaps she feels the need to fill the void left by her widowdom.
The idea of Jerry serving as a surrogate is posited in very clear terms - Bier fortunately hazards no attempt to shy away from or disguise this fact, and the viewer feels less insulted as a result. Naturally, this angle forms the film's central, and ultimate conflict - Jerry simultaneously fights his habit and tries his hardest with Audrey's children, even accidentally upstaging his departed friend in one instance.
This dynamic is a test of the cohesiveness of this new, synthesised unit - Audrey is grief-stricken and angry, and this battles against Jerry's genuine attempts to help her cope with the transition of her new life, and as such aid himself. Together they stand, and divided they fall - Audrey's growing ambivalence causes Jerry to lose his own grip, and this co-dependence is almost systematic in its prevalence - one falters and the other does so almost immediately.
As cinematically accomplished as Things We Lost in the Fire Is, as the situation becomes more depraved, Bier manages to retain a certain grittiness, with our characters briefly foraying into the seedy, drug-addled underbelly of their town. Del Toro's performance is equally gritty and authentic as he attempts to once-and-for-all conquer his demons - his Jerry is as heartbreaking as he is well-acted.
The film does begin to lose its steam in the final scenes, namely with an overly-sentimental dinner scene, yet steamrolls this with one of marked intensity, showcasing Berry's acting chops at their most mature and schooled, thus allowing much-needed catharsis for her character.
By its end, Things We Lost in the Fire does become too bogged down in predictable sentimentality, but in the overall scheme of the narrative, it never takes a melodramatic, or predictable sexualised approach to the friendship between Jerry and Audrey. This is a story of friendship, overcoming demons, and coping with loss - nothing more sensationalised than that.
An Oscar contender this film should not be considered, yet it still retains a noted authenticity, as well as allowing Berry in particular to deliver one of the finest acting roles of her career. This film is compelling thanks to its avoidance of contrivances that lesser films would have exploited, and should be commended for that.
I found this film so good that I gave it a rating of 10 as I can't see how it could have been made any better!
Any different and it (probably) wouldn't have the same impact, a bit longer, would've been dragging it, any shorter and it would've been incomplete! A different cast hmmm Unimaginable! Most importantly, the order in which the events have been played was needed to be done that way for the characters develop, and, more importantly, for us to feel for them.
Halle Berry is sooo natural and perfect as Audrey Burke that by the end, you forget that she's an actress and you'd address her as Mrs. Burke! The same goes for her two kids, more so Alexis Llewellyn, who plays Harper, her 10-yr old daughter. Under the quiet demeanour of Harper, lies an intelligent, reflective person who knows she has to play the role of the more mature 'older sister' yet can't stop herself from feeling emotionally wrought under the circumstances. She was one of my favourite characters in the film!
Then there's the amazing Benicio Del Toro!! Haven't seen him play a better character role than this one.. Heroin addiction hasn't been portrayed in a harsher light since Requiem for a Dream! It truly shows you how, the 'lows', outlast and definitely beat the temporary highs that one can get and he totally lives the part of the junkie trying to rehabilitate himself, fighting his daily battle with temptation and addiction. The movie almost revolves around him as much as it does around Halle Berry but even the seemingly small role played by David Duchovny is not the least bit insignificant, as his absence is felt throughout the film.
All in all, it's a 'complete' film that doesn't go overboard. All the emotions are well-measured before they are displayed no excess. There's joy and then there's sorrow, there's loss then there's denial, there's strength and weakness, there's hatred and then there's love and affection. It's as realistic as any drama can be and it's narrated through the roles that each of them has to play with these emotions.
Could've been a contender for the Oscars.. for its lovely message, and for its goodness! But judging by the way things went down this year, this film didn't grab the attention of the judges as there just wasn't enough blood! ;-)
Any different and it (probably) wouldn't have the same impact, a bit longer, would've been dragging it, any shorter and it would've been incomplete! A different cast hmmm Unimaginable! Most importantly, the order in which the events have been played was needed to be done that way for the characters develop, and, more importantly, for us to feel for them.
Halle Berry is sooo natural and perfect as Audrey Burke that by the end, you forget that she's an actress and you'd address her as Mrs. Burke! The same goes for her two kids, more so Alexis Llewellyn, who plays Harper, her 10-yr old daughter. Under the quiet demeanour of Harper, lies an intelligent, reflective person who knows she has to play the role of the more mature 'older sister' yet can't stop herself from feeling emotionally wrought under the circumstances. She was one of my favourite characters in the film!
Then there's the amazing Benicio Del Toro!! Haven't seen him play a better character role than this one.. Heroin addiction hasn't been portrayed in a harsher light since Requiem for a Dream! It truly shows you how, the 'lows', outlast and definitely beat the temporary highs that one can get and he totally lives the part of the junkie trying to rehabilitate himself, fighting his daily battle with temptation and addiction. The movie almost revolves around him as much as it does around Halle Berry but even the seemingly small role played by David Duchovny is not the least bit insignificant, as his absence is felt throughout the film.
All in all, it's a 'complete' film that doesn't go overboard. All the emotions are well-measured before they are displayed no excess. There's joy and then there's sorrow, there's loss then there's denial, there's strength and weakness, there's hatred and then there's love and affection. It's as realistic as any drama can be and it's narrated through the roles that each of them has to play with these emotions.
Could've been a contender for the Oscars.. for its lovely message, and for its goodness! But judging by the way things went down this year, this film didn't grab the attention of the judges as there just wasn't enough blood! ;-)
- thebathroomsinger
- May 9, 2008
- Permalink
When I read the title of this film I honestly said aloud, "Um, alright then?". It kind of made me laugh and I did not really take it seriously, but I of course know you should not judge a film primarily on the title. It is not even that funny of a title, I just found it humorous for some reason. Anyway, pretty soon I heard so many wonderful things about it and I decided I might as well give it a try, because it at least sounded like it would be entertaining if anything else, and it had Halle Berry, who I always enjoy watching, regardless of the film. I put it in to watch it and immediately my eyes were glued to the television screen.
I thought all the actors and actresses gave extremely powerful performances and the story line was very intriguing and strong where I did not think it would be. This was a very good movie and Halle Berry took on a character that, I at least, had never seen her play before which blew my mind. I liked Del Toro very much in his role, as well. I would go as far as to say that this movie was flawless in it's acting and performance skills, because there was nothing at all that was poor about it, but even though I say it is a great movie, it just didn't really excite me, personally. I mean, it was actually kind of a boring movie to watch at some points, but it is still very enjoyable for the performances, like I said. It surprised me how well of a movie it was, and I say if you have not seen it and are not thinking about giving it a chance, you are missing out on something special.
I thought all the actors and actresses gave extremely powerful performances and the story line was very intriguing and strong where I did not think it would be. This was a very good movie and Halle Berry took on a character that, I at least, had never seen her play before which blew my mind. I liked Del Toro very much in his role, as well. I would go as far as to say that this movie was flawless in it's acting and performance skills, because there was nothing at all that was poor about it, but even though I say it is a great movie, it just didn't really excite me, personally. I mean, it was actually kind of a boring movie to watch at some points, but it is still very enjoyable for the performances, like I said. It surprised me how well of a movie it was, and I say if you have not seen it and are not thinking about giving it a chance, you are missing out on something special.
- Dragoneyed363
- Apr 14, 2008
- Permalink
Disappointing...I've seen some of the Danish director's films. To go from the Dogma Creed to this just goes to show the pressure to toe the Hollywood line.
Del Toro is the only interesting face in the whole show- always watchable. His battle with addictions is believable and gripping.
The rest? Halle Berry has a few believable moments, Duchovny is bland as ever; the whole thing "family" thing is so clichéd. Ironically Halle's character's inability to move on with life reminded my of a similar local story (in West Vancouver where the film may well have been shot) with the widow of a man killed by a young man at a house party actually befriending the man who killed her husband. As a way of dealing with her loss.
I found the music especially hackneyed - the use of some kind of Middle-Eastern clarinet to signify melancholy especially annoying.
Pass unless you have to see Del Toro.
Del Toro is the only interesting face in the whole show- always watchable. His battle with addictions is believable and gripping.
The rest? Halle Berry has a few believable moments, Duchovny is bland as ever; the whole thing "family" thing is so clichéd. Ironically Halle's character's inability to move on with life reminded my of a similar local story (in West Vancouver where the film may well have been shot) with the widow of a man killed by a young man at a house party actually befriending the man who killed her husband. As a way of dealing with her loss.
I found the music especially hackneyed - the use of some kind of Middle-Eastern clarinet to signify melancholy especially annoying.
Pass unless you have to see Del Toro.
- eduardo10075
- Jan 21, 2008
- Permalink
This film is about a woman coping with her husband's sudden and tragic death. She copes by helping his late husband's best friend out of his drug addiction.
"Things We Lost in the Fire" is superbly acted. Halle Berry portrays her grief so well that it pains me to watch her being so sad. I find the scenes of ear touching and breaking down in the kitchen very memorable. Benicio Del Toro is also great, his withdrawal scenes are heart wrenching. As for the camera work, it is also excellent. Lighting is atmospheric, enhancing the mood and the sadness of the plot.
However, the central problem is the slow pacing. It is far too slow to be interesting. I really was counting down the minutes, and was amazed by how long two hours seemed. Despite the film's amazing quality, I find it boring.
I normally like this kind of emotional film, but "Things We Lost in the Fire" is not so enjoyable.
"Things We Lost in the Fire" is superbly acted. Halle Berry portrays her grief so well that it pains me to watch her being so sad. I find the scenes of ear touching and breaking down in the kitchen very memorable. Benicio Del Toro is also great, his withdrawal scenes are heart wrenching. As for the camera work, it is also excellent. Lighting is atmospheric, enhancing the mood and the sadness of the plot.
However, the central problem is the slow pacing. It is far too slow to be interesting. I really was counting down the minutes, and was amazed by how long two hours seemed. Despite the film's amazing quality, I find it boring.
I normally like this kind of emotional film, but "Things We Lost in the Fire" is not so enjoyable.