User reviews

The show broke my heart. You would have to be a robot if it didn't break yours. The acting was awesome. The ending was awful. Left everything so disconnected. Dang it.

It's a year since Sarah (Olivia Wilde) and Philip (Luke Wilson) lost their son Jessie who disappeared after going to a gas station bathroom. She's a teacher in NYC and he's a policeman. She becomes obsessed with the outcast special-needs student Adam and his foster parents (Elisabeth Moss, Kevin Corrigan). Philip's screw-up brother Tim (Giovanni Ribisi) is staying with them. Philip is going to a support group. Sarah insists that Jessie is alive and is spiraling downwards.

Olivia Wilde delivers a quietly devastating performance. Her obsession with Adam is compelling. Philip deserves to have someone to concentrate his lost on just like Sarah. He seems to have a scattering of characters to interact with. He's a cop which should be easy for him to fixate on one victim. His side of the story isn't as compelling. This is Wilde's movie and she delivers.

The film isn't anything that we haven't seen before, but it's still a rather effective experience. Olivia Wilde previously impressed everyone in Drinking Buddies when she showed us all what fools we were for doubting her talent. Here, she once again steps to the challenge and delivers an earnest, sincere, raw performance. I think she's a actress who does really great with portraying misery and sadness, and she can do wonders with her face. Luke Wilson is also impressive, but has less to do and Wilde is the ultimate shining star here. The film as a whole could've used some more work in its script, nothing too memorable, but definitely a solid film. Also, hey Elisabeth Moss appears.

If your feeling down in the dumps or there's a gloomy cloud hovering over your head then Meadowland is not the film you'll be wanting to watch, actually it's about as far away as what'd you'd want to be watching as you could imagine as one time D.O.P turned feature length director Reed Morano's film is one of the most dour films to come around in quite some time.

The dour nature that imbeds itself into almost every single scene of this sometimes heart rendering bleak tale of grief, loss and heartache may be too much for some to bare but it's also in many ways Morano's greatest achievement, even though it doesn't make for typically entertaining viewing.

Given a meatier role than she's normally afforded, Olivia Wilde does a commendable job as the lost mother of a missing boy Sarah and alongside the well casted if under used Luke Wilson as her equally lost husband Phil the two actors give Meadowland their all and tackle the hard subject matter with aplomb even though we're sadly as an audience never truly aloud into their characters inner sanctum which hurts the films overall emotional gut punches.

Morano, as is the case with most first time directors, unfortunately fails to properly engage the audience into the films overall heart and soul and characters like Giovanni Ribisi's underused Tim and the odd appearance of Juno Temple's seductress like Mackenzie seem like missed opportunities while Sarah's odd feelings towards mentally handicapped school student Adam never really ring true especially towards the films last act and the film is undoubtedly at its strongest when the narrative focus's more intently on the plight of Sarah and Phil as they consider what may've become of their lost son and how they deal with the pain alongside each other.

Sometimes powerful, often frustrating and always from the get go grey cloud gloomy, Meadowland is an impressive first up effort by Morano and features committed turns by the normally misused Olivia Wilde and sometimes auto piloted Luke Wilson that make it a film worthy of your time as long as you're willing to go along with its depressive nature.

3 stale car snacks out of 5

This film was very life-like...and seemed very realistic. I wouldn't watch it again because is was a bit slow and somewhat depressing. It really didn't seem to have a lot going on except watching the downward spiral of a couple's grief. Olivia Wilde is a very believable actress and the acting in general was great...it just wasn't my kind of film.

This film tells the story of a married couple, whose young son disappeared in a petrol station, right under their noses. They react and grief in very different ways.

The name "Meadowland" doesn't reveal anything away, so the plot remains a secret to be revealed. As the plot unfolds, the vastly diverging journeys of the two adults become very gripping and engaging. What they have to go through is devastating, and I do feel for them. The mother's denial and maladaptive coping is so heart wrenchingly played by Olivia Wilde. She is the true star of the film. The ending is very effective and communicates without words. I'm moved by this story.

I didn't believe for a second disappearance scene.

It was literally 8 seconds between the closing of the bathroom door to the kid being gone. No camera at the gas station despite every damn gas station having multiple cameras.

Then cut to a year later and Olivia was still acting as it happened a week ago. There was ZERO in between of the cops getting involved, mass search, media coverage.

Overall it was so pretentiously heavy-handed and on-the-nose with few words, music-driven montages that wanted the audience to FEEL something, which I hate. Don't add music to try to manipulate our feelings, especially without it we wouldn't.

Luke Wison, a lone cop without a partner? Didn't believe it.

It was a total bore-fest. I had to skip to the weird ending after 40 minutes because I was bored to death.

This film was heart wrenching but beautiful.

It's a look at the story of how a couple cope with the loss of their son, and the pernicious effects of grief over time. The title itself, Meadowland, seems to be the mental land where the suffering protagonists go to escape, the dream land that exists to maintain the last shreds of hope in the face of overwhelming pain.

It makes an excellent job of conveying the gradual deterioration of the ability to cope with not knowing, not being able to say goodbye and the juxtaposition of the need for closure with the incredible fear of accepting the inevitable.

It's brilliantly acted and well scripted. The pace is slow but filled with mounting intensity. The film holds its breath, never spilling into melodrama, but holding in an enormous sense of tension and conflict, thus creating a direct line of empathy for the situation of the main characters.

But it's not all doom and gloom, well it is all doom and gloom, but it examines that darkness at the place from which it emanates; love.

Poetic and sincere.

I suppose the reason most movies are so instantly forgettable is because, like the popcorn we shovel into our mouths distractedly while watching them, most movies are just bland, uninspiring, and only temporarily filling. They take few risks, break no new ground, and therefore leave us as we were when we entered the theater: hungry for something more substantial and memorable. Well, much admired cinematographer Reed Morano's first turn in the Director's chair, the haunting, visceral and formula shattering "Meadowland," which I caught at the Tribeca Film Festival last weekend, is simply unforgettable and searing. It burns its way into your memory, taking you on an ever-escalating trip through the unraveling of the world of parents unable to get any closure over a missing child who vanishes without a trace or clue, leaving the parents frozen in the time of the disappearance, immobilized yet stumbling through the mundane as they spend their days in a daze of incomplete, inchoate grief.

How do you mourn someone who is not dead but simply unaccounted for? In the hands of a less sensitive and brave director and cast, such a story would, at various times, turn melodramatic or maudlin, but Morano and her superb cast, led by Olivia Wilde, stay with the pace at which life honestly moves when grief is the gnawing feeling you wake up with every day. You live, but your life is lifeless, and every day their son stays missing is a little less a day for hope. Wilde gets progressively gaunt and hollowed with the passage of time, and she delivers a disciplined performance of aching realism, never giving in to the temptation to play Sarah broadly or with hand-wringing sympathy. Sarah's husband Phil, played by Luke Wilson in the equally defining role of his film career, is similarly staggered by his son's disappearance but falls down the rabbit hole of loss by a somewhat different route. While Sarah goes from lithium to lethargy, Phil goes for support from a group that includes John Leguizamo, superbly cast against his usual type, but Phil misunderstands the nature of support and loses a friend as he tries to take a shortcut in the twelve steps to rehabilitation. Wilson's eyes rarely show signs of the life he had before his son went missing; even when he is dealing with a domestic dispute with potentially explosive consequences, he seems bored by the banality of daily life even as he urges Sarah to accept the reality of their loss.

Morano clearly loves the actors with whom she works and gets career-defining performances from most of them, especially her two leads. Her dual role as cinematographer never seems to burden her. In fact, it may help to have the person actually behind the camera stand behind her actors. Her visuals are remarkably, even almost shockingly, bright and clear, from Sarah's yellow hoodie she wears when prowling the crowded city streets looking for her son to the clouds that hover over an otherwise dreary landscape of loss. Morano is a force to be reckoned with, and Meadowland is a film that celebrates her skills for story telling and her knack for getting the most out of her stars. Wilde and Wilson have never been better, but one senses Meadowland is just the beginning of even richer and deeper roles for both of them for a very long time. Meadowland is not without problems. The script tends to wander in the third act as if, like Sarah and Phil as they stumble through the fog of grief, not everyone is sure where things are ultimately headed. And let's be clear: this is not a subject matter that begs to be seen in a multiplex on a feel-good night out. But if film is indeed a window into our true selves, then Meadowland succeeds on every level because Morano, Wilde and Wilson are brave enough to tell a story without artifice and resolution. Much as we know, when we are truly honest with ourselves, that we have to live our lives without a story arc with a clear beginning, middle, and end, Meadowland honors the courage it takes just to keep living, especially when those who were so important that they were the center of those lives, cannot.

One of our few female Cinematographers Reed Morano steps behind the camera in a different way to make her directorial debut on "Meadowland," written by Chris Rossi in his screen writing debut. Starring Olivia Wilde and Luke Wilson, the film tells the story of Sarah and Phil, a couple who suffer an unimaginable loss and deal with the grief, loss, and hope in two completely different ways. Phil's own moral compass is challenged while Sarah begins to deteriorate, falling deeper into herself and losing all hopes of coming back. "Meadowland" is a methodical and at times very compelling film that presents an intimate portrait of grief and hopelessness.

Reed Morano hawks back to similar feels of films like "Shame," capturing a long shot within a New York street or "Half Nelson," deconstructing the mind of a struggling educator with a student in need of their own guidance. Morano frames the film spectacularly, as you could expect no less from the woman who shot "Kill Your Darlings" and "Frozen River." She appeals to our sensibilities as humans, and puts forth authentic reactions and behaviors of two human beings that can't imagine a world that their presently abound. That's also thanks to the palpable tension and drama set by scribe Rossi. These are two of the strongest debuts by a writer and director team seen in quite some time.

Challenging Jessica Biel ("Bleeding Heart") as our Hollywood hot girl taking on an indie film and knocking it out of the park at Tribeca, Olivia Wilde is electrifying. Standing out in her own way in films like "Her" and "Rush," Wilde finds her niche, accurately portraying a mother on the verge of breaking down but desperately searching for something to keep her afloat. Wilde delivers her finest acting performance of her career yet and is simply astonishing. There's so much that Wilde reveals in subtle moments of silence, whether its watching "Wheel of Fortune," or observing a boy struggling to make friends, she keeps things bubbled to the brim without spilling over. A tremendous and extraordinary actress has emerged.

In one of his most serious and heartbreaking roles, Luke Wilson surprises as the effective Paul. He internalizes much of the grief that lives within his veins and in certain moments, unleashes them but not in the stereotypical bombastic manner in which you'd expect. It's a real and intelligent portrayal, devoid of happy endings and clichéd heroism.

John Leguizamo is taking on an indie market again and its fantastic to see. Building even more excitement for a career post-Mad Men, Elisabeth Moss is superb in a brief role that should have been expanded beyond what was given. Returning to his roots, Giovanni Ribisi excelled in smaller films until Seth MacFarlane got his claws on him for TV and "Ted" (which admittedly he's hilarious in). As Tim, Paul's drug-recovering brother, Ribisi begins to revive the talents that made him so amazing in his early years of his career. In smaller roles, Mark Feuerstein, Merritt Wever, and Juno Temple all get their moment.

"Meadowland" is a fascinating piece, sometimes subtle in the way it presents its material, other times bombastic all leading to a finale that speaks multiple volumes about our own innocence. It's a film that will hopefully find a home with someone caring enough to nurture it into the right audiences.

This film is a good reminder for me to not follow film ratings alone as an indicator of quality when deciding whether or not to watch something.

I'd put this in my Netflix queue and when it came and I sat down to watch I was dismayed by early occurrences. Surely I hadn't decided to order this . . . this genre . . .

I visited the critiques here, was discouraged by the 5.2 rating but trusted the intelligence I encountered here in the reviews and went back and saw that, yes, this IS a good film.

The editing . . . the single shot of Phil where we see for the first time, on the left side of the screen his attire and suddenly know his profession, and at the same time on the right side of the screen, reflected in the car's windshield, what is on the dashboard. In a second, an instant, we know so much more about Phil.

The music is just right and enhances each mood.

It's a well crafted film.

It is very sad.

And it is very good.

Olivia Wilde's performance is astonishing and has haunted me; compelling me to write this review two week after seeing the film. Luke Wilson and the rest of the cast also put in sterling performances, but it's Olivia's character that feels painfully authentic as you watch her deterioration.

The movie is a concise study of loss and as a result is relentless in its depiction of grief; probably not a great choice for a fun movie night with friends... Reed Morano does however inject love and beauty into the proceedings with thoughtful cinematography and a stirring soundtrack.

Meadowlands is outstanding on many levels. It had a risk of being unbalanced and overly melodramatic or otherwise missing the point of the reality of what the film -through the writer- intended to convey which was the story of people who do go through this reality. While it had flaws if you looked hard for them, what stood out was what could be attributed to the direction, sound score, cinematic filming, and balanced overall presentation of the story. The actors all did what really talented actors can do. It was a very well done and worth seeing film. (Well, need more lines to submit review.) Regarding two things worth mentioning, The camera work was with a very fast lens and the ending scene was outstanding in how it brought the story to a conclusion.

This movie makes me feel humble and in reverence. The subject of the story about a missing child is very delicately portrayed. Definitely not a popcornmovie nor is it a sentimental tearjerker. It is as real as it gets...

The story is about a couple who have lost their child and for months on end are at loss over the uncertaintity about the whereabouts of their child.

Meadowland is a real rough diamant, wrapped in breathtaking grief though, so only watch it if you are up for a lot of repressed and twisted emotions.

Meadowland is dedicated to the late father of the director. Is it the personal loss of the director's father that made this movie so heartwrenchingly beautiful? "Meadowland" really comes across as a personal tale of grief...

Meadowland easily found its way to my heart, because besides the grief there is healing to be found as well. And the healing part of the movie struck me as an uplifting, almost magical experience. For that reason I do want to recommend this picture very much...

Cinematography is excellent. Skip is great too. Tells the emotional story of two parents who have lost a child, and that event has reshaped totally their lives. I wish more Americans could see this movie. Perhaps they would better understand how gun violence that takes away a son or daughter can be a devastating event. At the very least, it changes lives forever.