In the Bedroom (2001) User Reviews

Good human drama

[grantss · 7/10 · 13 December 2021]

Good human drama. Solid directorial debut from Todd Field. Pacing is a bit uneven though: the movie moves along fairly slowly for about 75% of its length, and then suddenly speeds up, and changes direction to a degree, towards the end.

Excellent performances all round. Sissy Spacek, Tom Wilkinson and Marisa Tomei deserved their Oscar nominations.

a good movie, but whoa...

[ImmortalCorruptor · 7/10 · 21 June 2002]

I'd heard of this from the Oscars, as well as other critical sources. I've heard it was an awesome movie that will go down in history. It was a great film, but whoa...we got a little carried away here.

This is a great movie. Not because of the story, nor the directing...the greatness is the result of the abilities of the actors. If this were cast with a lower caliber of actors, it would've been a blah film that wouldn't have had much mention.

But there were the actors. They tore it up for this. There was no over acting, no playing it down for "less is more". Everyone in this film is someone you can believe in, they're all people you've met and live with. At times it was painful to watch how real the characters were, because of their reactions to the story, but that's life, and this was a quiet film with honesty in mind. It never insults your intelligence. Not once.

My only beef with this was the timing. The directing was good. That's all I can say. The actors were directed perfectly, but the timing seemed a bit slow in some places. It felt as though sometimes a point was made and a mood was established...again...and again...and again...etc...

Besides the fact that the movie needed a shave, I'd recommend it to anyone who enjoys a thriller with it's feet planted well in reality. But only for the abilities of the actors, nothing more.

Fantastic Pain

[kbumbulis · 6/10 · 22 January 2002]

I sat through this film with my girlfriend who'd been talking about it for weeks. I'd heard wonderful things about the acting and little else. Now I know why.

Let me say the actors were all wonderful. As opposed to most movies, I actually felt I was watching real people. The performances were very believable. And for me, that alone was the salvation of the film.

I don't know the actual length of the film but I can tell you it was long and it felt it.

Part of this is due to the subject matter. If your idea of a good film is watching people suffer for 2 hours, THIS IS YOUR FILM. The movie is a well done character study of misery and grief. Even my girlfriend who loves a good cry found the movie to laborious and depressing. I'll say again; the film is a FANTASTIC, WELL ACTED exercise in the details of misery. For some, this may make it a great film. And in many respects this probably qualifies it as a fantastic film. But, perhaps as I'm getting older, I find less need or desire to focus on the hardships of life. And when I actually venture into a theater to watch a film; I want to escape. This movie makes you ponder grief. And frankly, who needs a movie to do that?

If you want to judge a film entirely on the merits of cinematography, acting, maturity and meeting its goals; this film deserves a much higher rating then I gave it. (I gave it a 6) Matter of fact, part of me feels guilty for the low score I gave it.

On the other hand, while technically it was a well made film, I was glad when it was over and don't feel better having seen it. (Other then appreciating that a film actually portrayed real characters) The subject matter was too depressing. The pacing was too slow. I released a sigh of relief when it ended.

One of the Most Magnificent Films of the Decade

[marcelbrooks · 21 January 2009]

David Mamet, Eric Bogosian, Alexander Payne, and a million other misanthropic storytellers in film and out are all obsessed with familiar literary conceits regarding the middle-class and their American equivalent in Suburbia. The would-be cultural critics who point their pens and cameras on the American bourgeois insist this glossy sheen covers a subdura of rot and horror. Think of the opening scene in Blue Velvet — the camera leers at a pristine lawnscape before sinking into a layer of munching insects. But satirists, especially weirdoes like Lynch and Todd Solondz, often lack subtlety when brutalizing their subjects. Todd Field has beaten them all by doing the opposite, by pulling us so close to the drama we're blinded with ambivalence. Few films have been more disturbing, more quietly devastating.

Field's debut, In the Bedroom, based on an Andre Dubus short story, applies a scalpel to the internal and external horrors of a Maine seaside hamlet. Dr. Matt Fowler (Tom Wilkinson) and his wife, Ruth (Sissy Spacek), live quiet, relatively happy lives, respected in the community as people a bit better than their present stations. Matt is a family practitioner, a man of gentile affability who yearns for everyone to like him, something a family doctor yields easily; he's generous and naïve to a fault. Ruth is a bit more complicated — a former academic and professor, she's been reduced to pawning her knowledge of Eastern European folk music onto a high school choir, something she probably resents. Theirs is a well-meaning but facile relationship — they've long since stopped telling the truth in favor of being nice to one another. And both are somewhat guilty of projecting casual disappointments onto their son, Frank (Nick Stahl).

Frank is a general success story — a bright young kid possessing the self-effacing affability and good looks impossible not to like. His parents, and indeed the rest of the community, adore him. What Frank lacks in brute masculinity he makes up for in sexual prowess; he's run through a string of girlfriends, but the latest his parents find troubling. Natalie (Marisa Tomei) is a much older, freshly separated (but not divorced) mother of two young sons. Frank is allured by Natalie's beauty and unassuming nature; Natalie is allured by, well, everything Frank is. It's easy to see how the relationship would be mutually flattering, but Natalie is probably Frank's way of rejecting his parents. Ruth thinks the relationship is socially detrimental and will ultimately distract Frank from the architecture school he's poised to leave for at summer's end. Matt is concerned as well, but too proud of his son for romancing a woman he and his friends see fit to ogle. Matt beams with pride, even when his son damns him for marching eagerly in his own father's footsteps.

To complicate matters, Natalie's not-quite-ex-husband, Richard (William Mapother), lurks in the fringes. If Frank is impossible not to love, Richard is impossible not to hate. He's the worst kind of man, whose brute anger and stupidity are matched by a slight physical ugliness, drunk with an entitlement so internalized he can't fathom when others don't give him what he wants. Natalie has left him, but he barges into her home regularly and harangues her for not wanting him, let alone canoodling with a younger man. Richard represents the brute atavism found in lower-class caricatures; he even says at one point: "No, I don't change; everything around me changes." Field hints that class miscegenation is at the heart of this conflict, but only just. Richard's family wields some power and money, but from a decidedly lower social echelon. In any case, it will only end in Frank's blood. And when that end comes, it's more harrowing than any horror film. Field blankets the entire film with dread, with suggestions of violence both emotional and physical. The middle section of the film, wherein Matt and Ruth confront a grief they're incapable of dealing with (who would be?), is as troubling as the actual death. The two can't talk to one another, to console or to blame, as each holds the other responsible for Frank's death; did Ruth push too hard or Matt not enough? Their marriage suppurates under guilt and resentment, and Field doesn't sully the atmosphere with actual words, but lets the emotions play in an understatement that mirrors Bergman or Ozu. Ruth wants to reach out to someone, to express the inexpressible. Matt, like so many men, can't describe what he feels even when he wants to; mostly he tries to pretend nothing has happened. I've never seen a portrait of grief to match In the Bedroom's quiet desperation.

When the words finally arrive, they're screamed and hissed, the tension erupting from its horrible concealment. And maybe the two can forgive one another, but the sheer injustice of their loss gnaws at them, all the worse when it seems Richard will get off on a lenient manslaughter charge. Matt is galvanized with the masculine drive to fix things somehow, to mend his marriage and avenge their wrong at the same time. And with regards to the middle-class expressing the inexpressible, his options narrow to a grim inevitability.

Richard's death, so implicitly yearned-for by character and audience, is nothing to celebrate; it's as horrible and damning as Frank's. Revenge might restore the balance Matt and Ruth yearn for, but the damage it will surely wreak on their humanity is truly disturbing. Field has crafted a vision of bourgeois America of devastating darkness — that lower-class crimes of passion will be met with a savagery borne of cruel calculation: which one is really worse? In the Bedroom is a film of horrifying human truths, executed with patience and skill, and all of it should break your f*cking heart. It is one of the most magnificent films of the decade.

A Lesson in Acting

[Hitchcoc · 9/10 · 14 October 2009]

This movie was so well done, I felt as if I were an outsider, looking through someone's window. Then the tragedy occurs, we were treated to what probably would have happened after a crime of passion, the imprecision of the evidence, the lack of a witness, and the ability of the perpetrator to avoid prosecution. Mostly the movie is about acting. Sissy Spacek is amazing, so tightly wound and in control. Her somewhat passive husband becomes her foil until the fuse is lit. Then it all comes to a head. I can't imagine living through something like this where your allies become so worthless. There is a scene where the prosecuting attorney jingles his change and looks at his watch while spouting a bunch of meaningless jargon about justice. The father goes catatonic while this is happening. Things play out like they do in life; there are no winners and no losers.

Not a False Moment to Be Found. Stunning.

[rddj05 · 9/10 · 2 November 2008]

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.

other than that, it's very good

[oaksong · 7/10 · 8 January 2002]

SPOILER !!!!!!!!

The plot fails. It took me three days to figure out why. There was a substantial amount of misdirection involved. The issue: Richard RETURNS to the house to kill FRANK. That makes it premeditated, for which bail might have been allowed, but it would be substantially higher, and the possibility of getting off virtually nil. The prosecutor clearly failed to sufficiently interview the witnesses to have missed this.

To hang the plot on the factual assertion of Frank's wife becomes irrelevant, once this is realized.

END SPOILER !!!

Sissy was wonderful. Tom Wilkinson was very good, given some of the issues. Nick Stahl is quite believable as a malleable youth.

perhaps not my favorite film but a perfect one.

[vabalos · 10/10 · 21 February 2004]

A dark story told with amazing weight and balance, it is cinematically perfect. Aside from the excellent performances by Wilkinson, Spacek and Tomei, it is

Field's film. He uses a deft touch to examine the lives of a couple devastated by loss. The perfection of this film lies in the small touches, the subtle gestures, the powerful symbolism that Field displays throughout. Even the most powerful

moment, the shooting, is done off camera. It isn't so much what you see, its what you don't, what Field implies throughout the film. He creates moments in this movie that convey complex emotion through subtle actions. The film creates

unsettling scenes without being disturbing. Reflections of actors moving as if underwater through their lives, we see them caught in the windows of their

home, ghosts in their house and in their lives, struggling to cope until the film's resolution. Attempting to heal each other and themselves through a single act of redemption that seems at the same time surprising and inevitable. It isn't my favorite movie, but i still think it's as close to a perfect film i've seen.

Pleasant Surprise

[gboydit · 7/10 · 20 May 2002]

While I thought Sissy Spacek was great as usual, I think the really BEST performance in this film was put in by Tom Wilkinson (who played the bad-guy in Rush Hour and the English General Cornwallis in The Patriot).

Rarely, does an actor's performance come across as this genuine.

Delivers what Movies are meant to deliver.

[pdvincit · 10/10 · 26 August 2008]

I have friends who do not want to see dark movies. Too depressing, given the news these days. I can understand that.

But farce grows quite tiresome. Clever repartee is fine sometimes. Action films are frequently exhausting and you can only watch so many cars, trains, planes and buildings explode. Plus, you are hungry an hour later.

This movie is a rare opportunity to miss excessive violence, pratfalls and smart-mouthed kids, teenage titillation, explosions, chases, stock characters, overacting and thin plot contrivances.

Enjoy a movie where the characters are complex, the actors spot-on in their craft, and the story is compelling.

Or don't. "Independence Day" is probably on cable somewhere.

Sissy's great, but Tom will blow you away

[Sam_Focak · 7/10 · 7 January 2002]

Ahh, January. Is there a better time of the year for us film-geeks? Everywhere you look, Oscar contenders, star-studded movies and stellar performances. The latest foray to the theatres was In the Bedroom, a drama about a family in rural Maine.

Relative newcomer Nick Stahl plays Frank Fowler, a young college-bound man who spends his last summer at home fishing and dating an older woman, Natalie Strout (a surprisingly good Marisa Tomei). The problem? Well, it turns out Natalie has two kids and an ex-husband who isn't too happy about this new relationship, which leads to increasingly violent confrontations between the two men. In itself, an interesting story with solid performances that probably could have carried the movie by itself.

The real strength of this film, however, is Sissy Spacek and Tom Wilkenson who play Frank's concerned parents, and how the events in their son's life affect them. You will hear lots of talk in the next few months about Spacek's performance and likely an Oscar is in her near future, but to me, it's just the choice of a sentimental favourite. Don't get me wrong; she does a wonderful job, but her screen time is quite limited in comparison to Tom Wilkinson and he, to be honest, steals the show.

In the first half hour of this film, I thought In the Bedroom was a decent movie, but nothing special, until Wilkinson took over, and from that point on dominated scene after scene in what I consider one of the strongest performances of the year. Without saying too much more about the plot of the movie, suffice it to say that Wilkinson takes you through the full range of emotions, and you can't help but be focused on the presence he exudes throughout.

something's going on in the bedroom

[Evil_Will_Hunting · 9/10 · 10 December 2002]

9 out of 10

Watching Todd Field's feature film debut `In the Bedroom,' I could not help but be impressed by the sheer audacity of the film, by the spot-on performances, and by the many twists and turns that no critic should reveal. Yet amidst all the film's obvious strengths, there was still something missing-something to tie it all together, something to endow the film with more than just a fleeting impression.

Ironically perhaps, I was provided this missing bit of information not by the film, but by a male audience member sitting at the end of my aisle, trying to explain the point of the film in less than derogatory terms to his female companion.

`You're missing the whole point of the film,' he said. `It was all about men being controlled by women.'

No doubt he read this interpretation from someone else's review of the film (and what a sweet piece of justice it would be if that critic were a woman). It is quite possible that he was not even aware of the ramifications of what he had said. But this man's legitimacy aside, his statement has not left me since, and the film in turn has had the same luck in escaping me.

We are first introduced to Frank Fowler (Nick Stahl, `Bully') and Natalie Strout (Marisa Tomei, `My Cousin Vinny'), he a young college student with no immediate plans to settle down, she an older divorcee raising two children. They are in love, though for Frank she is little more than a `summer fling.' Meanwhile Natalie's ex-husband, Richard (William Mapother, `Mission: Impossible 2'), is unwilling to let her out of his life, and begins to be physically abusive to Frank. Frank's parents, Matt (Tom Wilkinson, `The Full Monty') and Ruth (Sissy Spacek, `The Straight Story')-both in top form here-show appropriate concern for their only son, and they intervene in this dangerous love triangle with unexpected twists and tragic results.

The film jumps about in tone from a light romantic romp to a seeming political treatise to a creepy, nocturnal thriller. Some have criticized the film for this alleged inconsistency in tone, slow pacing, and a deliberate ending. But these naysayers have overlooked the point.

Frank may not even really love Natalie, so much as he loves being controlled by her and sating his mother by being with her. Richard becomes a threat to everyone because he is unwilling to let Natalie consider him out of her life; he is a slave to her whim. The resulting tension reveals a rift between Frank's parents, and in particular, his father's actions in the end demonstrate a helpless allegiance to his wife and her command.

Field, who up until now has been primarily an actor (he was the piano player in `Eyes Wide Shut'), understands these important points but does not beat the viewer over the head with them. He presents a reality more raw and true than any other piece of film in recent memory. Yet he does so with a restraint that Hollywood seems to have forgotten. Most of the film's violence is overheard or implied, and only explicitly shown when necessary for the audience to completely understand what has happened. This allows for more subtle details, like a bridgekeeper who must run around in circles to alternate traffic between the road and the sea, to emerge as truly haunting, lasting images.

But `In the Bedroom' is not about any of these things. It is, first and foremost, about its characters. It does not fall prey to plot mechanics, nor does it flinch at exploring even the most sympathetic characters' darkest sides. For this and so many other reasons which are best left discussed behind closed doors between loved ones, `In the Bedroom' succeeds at turning the camera on flawed relationships of all forms, and it is one of the best films of the year.

Good film, missing some characterization.

[bombersflyup · 7/10 · 9 January 2019]

In the Bedroom is an engaging and well acted film, though sombre.

The turn of events surprised me a few times here. I love that line by Ruth, that Matt isn't apposed to the relationship because he's getting his fantasy piece of ass through his son's life. I don't know what's to be gotten out of the film exactly, other than a look in at lives affected by tragedy. I'm not sure why Marisa Tomei's character deserved that treatment from Ruth or why Stahl's character said it wasn't serious, when he's living with her, spending time with the kids and dies for her.

Todd Field's next film "Little Children," a masterpiece. Shame he hasn't done more films, with this kind of standard.

Absolutely Terrible

[WriterDave · 1/10 · 25 February 2003]

I wanted to like this film so much, but I can't help feeling that I was cheated out of two hours of my life that I can never get back. The main problem lies in the fact that this is supposed to be a realistic look at tragic events in a small town and the emotional devastation two parents feel over the murder of their son. Yes, most of the acting was naturalistic and nuanced, but I didn't buy for a single moment any of the main turn of events. I blame this on a hackneyed script and over confident director (Todd Field seemed to be screaming "Oh, look at me, I can do long meditative shots of pretty drapes blowing in a breeze, oh, aren't I artistic?").

*SPOILER ALERT* I did not believe that Marisa Tomei's character would seriously date a college age boy. I also did not believe that her ex-husband would actually kill him (beat him up and harass him, yes, but shoot him...I just did not see that in the character). Finally, I did not believe that Tom Wilkinson's character would seek out revenge in the fashion that he did. The scenes that were supposed to be chilling and revelatory were for me just plain predictable and unrealistic.

As for the acclaimed acting, it was good given the "made-for-TV-movie" plot they were stuck in. I think Marisa Tomei was better, however, playing a similar character in "Unhook the Stars." Tom Wilkinson was solid, but he still didn't make me believe that he was capable of doing what he did in the end. As for Sissy Spacek, for me she was simply method acting, and was far better doing it in a supporting role like the one she had in David Lynch's "The Straight Story."

It's amazing that two god-awful films were nominated for best picture for 2001. While this film is horrible, at least it isn't in the running for worst picture of all time on my list like the stupifying "Moulin Rouge."

When Tragedy Strikes.....Chaos Strikes.

[tfrizzell · 22 May 2002]

First-time director Todd Field's "In the Bedroom" is a dark and disturbing film which is both a joy and a trial to sit through. Recent high school graduate Nick Stahl is having a little bit of fun during his last summer of freedom. He is seeing Marisa Tomei (Oscar-nominated), a woman twice his age who has young children and is separated from her shady husband (William Mapother in an appropriately chilly performance). Mother and music teacher Sissy Spacek (Oscar-nominated) worries about the relationship while father and town doctor Tom Wilkinson (also Oscar-nominated) shrugs off the partnership as a simple summer fling. When tragedy strikes, the simple life in Camden, Maine turns into chaos for all involved. "In the Bedroom" is one of the roughest films I have ever watched. It is a movie that is thought-provoking in the fact that everything seems so normal and yet darkness looms overhead for the primary characters in the film. The fact that the film takes place in rural Maine just makes it that much more scary. When one thinks of situations from the movie occurring, few think of a place like Maine. Much like "Fargo", "In the Bedroom" shows that bad elements are everywhere, even in the most unlikely of places. However, be warned that "In the Bedroom" does not go for the black humor that "Fargo" went for. This is a film that will chill you to the bone. It is a must-see and easily one of the top five or ten films of 2001. 5 stars out of 5.

Revenge shown to be illusion in this realistic work.

[Erick-12 · 10/10 · 18 November 2003]

The film is, as all the critics say, emotionally involving, wrenching and all that. Acting is natural and realistic, down to the nitty-gritty. The valuable and rare thing here is that the story works against the most common plot at the movies today: the revenge plot. Here instead, revenge gets a more ambiguous and thoughtful treatment. We are accustomed to being flattered as an audience, sent home feeling good that "our" side wins in the end against the evil. In this film that stereotypical and simplistic Good vs Evil is taken apart. The revenge leaves us feeling unusually unsettled, which is a very good thing in a deeper sense.

a real modern classic

[JudgeMalone · 9/10 · 2 January 2004]

A rarity in modern cinema, In the Bedroom is a movie for thinking adults that is one of the most thorough yet subtle examinations of violence and its consequences I've ever seen. Tom Wilkerson gives a masterful and restrained performance, and Sissy Spacek and nearly everyone else is uniformly excellent. Although it is a searing and unflinching look at nearly unspeakable grief, it is poignant and thoughtful and even has scenes of humor if you are ready for it. Todd Field's screenplay is one of the most brilliant in recent memory. I really wish we had more mature stuff like this coming out of Hollywood. Powerful films that deal with violence and its aftermath and meaning like this make films like Kill Bill look even more repellent than they already are.

The power of raw cinema

[lingmeister · 7/10 · 24 December 2002]

This film is about how a husband Matt, played by Tom Wilkinson and his wife Ruth, played by Sissy Spacek deals with the murder of their son, and how far they are willing to go through to erase one thing that will forever be a reminder to the event for them.

After their son's death, Matt and Ruth, each with different personalities and views of life, handle their emotions very differently, in which it eventually puts a strain in their marriage. After Ruth constantly runs into her son's killer, who is out on bail, along with the possibility of him being released from jail and back in their life again in only a few years, Matt decides to take care of the situation himself. The method is particularly extreme, but it was the only way, and no doubt that he was persuaded by his friend Willis (who also assisted him) who gives his outsider clinical perspective. We come to realize at the end that it wasn't just Matt taking care of the matter on his own, but Ruth also had knowledge of what's going to happen and was not against it. She was even indifferent to what took place after the fact, all for the sake of her peace of mind. But to give her that, Matt has to live with what he did forever.

I think the movie tries to take the simplistic approach, going for the "get rid of the problem" path too quickly, and too little on dealing with everyone's dilemma and ironies that arise from their actions. What little they do introduce is too easily overshadowed by the climactic event that occurs. Kieslowski's Decalogue or Atom Egoyan's The Sweet Hereafter this ain't.

There is very little melodrama in the film, it basically let the events drive itself. Although I do feel in the second half of the film, while the director is trying to show the empty and hollow life the family are experiencing after the murder, he might have dragged some parts a little too long, mostly by letting much of the idle scenes continue just a bit longer that needed. Much of it still could have been conveyed with some trimming to those scenes.

Overall, still a pretty good movie.

A Subtly Brilliant And Restrained Film About Human Nature, Instinct, And Emotion...

[leyward · 10/10 · 12 February 2006]

Everything about this film is wonderfully done, from the restrained direction and acting, to the inexorable progression to tragic conclusion following preceding events. All the actors and acting are excellent, with a particularly subtle and brilliant portrayal by Tom Wilkinson as Dr. Fowler. Always great, he is, in my estimation, one of the unsung and underrated actors in film today. Sissy Spacek is also wonderful, and the inevitable emotional fall-out in their relationship after their shared experience is beautifully done. Very human - and very real.

Though difficult to watch, it is a great film, great story, with great performances all around by gifted actors. Not to be unsung are the excellent performances by Marisa Tomei, and all the other supporting actors. A film that would benefit one to watch more than once, there is that much substance there. Worth paying particular notice to is the opening metaphor in the scene on the lobster boat where Tom Wilkinson (Dr. Fowler) explains the nature of how a lobster-trap works - and the name the lobster-men (and tradition) have given to the inner part of the trap. This is the metaphor for the human story that will, tragically, unfold.

A great film, with great work all around. Todd Field is a director to remember.

Disappointing

[TheDiva802 · 6/10 · 21 February 2002]

I went to see this film with much anticipation, given the excellent reviews and Oscar nominations. While it is much better than most of the juvenile fluff out there, I don't understand the hype. The acting is solid, with Tom Wilkinson being exceptional among the cast. It was great to see Sissy Space again, but I found her character to have one emotional note throughout and her character's cigarette smoking was completely unnecessary and distracting. I find the positive comments about the cinematography odd, since I found myself paying attention to the camera angles too many times; if I notice, it's not subtle enough for my taste. My main complaint is that it was just too long.

Slow....very, very slow.....and unpleasant....but exceptional.

[planktonrules · 9/10 · 3 November 2013]

"In the Bedroom" is a rather unpleasant and very slow film. I guarantee that many folks will not want to watch this film or will give up partway through it. This is because although the movie is exceptionally well made, it's also incredibly sad and its pace is like lead. Now this isn't really a complaint--just some reasonable observations about the film. So, keep this in mind before you decide to watch.

The film begins with a relationship that seems rather irrational and doomed. A married woman with children is getting a divorce. In the meantime, she's having a relationship with a young man who appears to be about 18 or perhaps 19. The woman (Marissa Tomei) is significantly older and the young man is supposed to be going off to college--and his mother (Sissy Spacek) naturally wants the young man to focus on school and not this still-married woman. Soon, the estranged husband returns and begins pressuring the wife to take him back--and he becomes very violent. The wife and the boyfriend are morons--they don't go to the police and the husband's behavior escalates until he murders the young man. All this occurs in the first third of the movie and the rest of the film consists of showing the parents (Spacek and Tom Wilkenson) dealing with their grief. Neither really talks about it and they internalize their pain and become distant from one another. However, rather unexpectedly, the movie takes a very drastic and violent turn at the end--one that is quite satisfying to see but which also is difficult to watch.

It's important to point this out, the portrayals of the parents coping with their grief is incredibly well done and realistic. But who wants to see this? Not most folks. In many ways it reminded me of "Rabbit Hole"--another amazingly well acted film about parental grief that is brilliant but difficult to watch. And, since most folks don't want to be THIS depressed, they're movies you should think twice about before you watch. Exceptional....and unpleasant.

A literate film, but a disappointment nevertheless

[richards1052 · 7/10 · 19 February 2002]

First, let it be said that this field is superior to 90% of what emanates fr. Hollywood these days. It is literate, with intelligent, thoughtful characters. Cinematography of the Maine coast is gorgeous.

However, the plot of this film which takes a terribly tragic direction could have been warmly emotional & far more engaging. If you haven't yet seen the movie, pls. stop reading here.

After the son's death, the parent's could have developed a supportive relationship w. Marisa Tomei's character & her two sons. After all, I feel that Marisa Tomei & the son's (her lover's) character are far more engaging & hopeful than Spacek & Wilkinson's as the parents. Instead, the parents take an astringent & unforgiving direction, making the film excruciatingly spare. Neither provides us anything, by the film's conclusion, which allows us to sympathize w. them. And their decisions at the film's ending (to kill their son's murderer) are so extreme & bizarre as to be off putting. I found them both to be uninvolving characters ultimately making the film uninvolving as well.

After reading the NY Times rave review I really wanted (& expected) to like this film. But I really did not like it at all.

An acting masterclass

[adsdmnel · 9/10 · 20 March 2006]

An exceptional film which emulates the astounding talents of Tom Wilkinson. I thought he was OK in The Full Monty, but he is exceedingly well cast in the role of father who is grieving inside the loss of his only child. Tom acts with intelligence and resounding compassion as a man driven to revenge. The film is delivered and directed with a slow build up of tension towards a shocking and absorbing climax. This film offers great performances from the ensemble of actors and is directed intelligently. It maybe a tragic and slow film but it will leave the audience empathising with the characters rather than sympathising with them. A truly remarkable and contemporary film.

Somewhat Slow But Still Worth While

[Theo Robertson · 7/10 · 20 August 2003]

The premise for IN THE BEDROOM is absolutely no different from umpteen bland TVMs I`ve seen . The producers are almost certainly aware of this so they`ve decided to make a slow , moody haunting film . There`s a great deal to admire in this descion but unfortunately this doesn`t lend itself to an engrossing entertaining film , but seeing as this movie wasn`t produced for mass entertainment in mind it shouldn`t be taken as a criticism

One very valid criticism that can be fired at IN THE BEDROOM is the editing which has a very jarring quality: Cut to fishing boat , cut to barbacue , cut to interior of house , cut to etc which I found very irritating while there`s a scene with Matt Fowler talking to his wife Ruth in the kitchen which cuts from Matt walking out of kitchen to bedroom where Ruth now lies in bed reading a book ! There`s basically nothing to indicate this is an entirely different scene . I also have a minor problem about the way Matt Fowler is written , he`s Doctor Matt Fowler but never comes across as being a white collar professional as he`s seen fishing out at sea , chopping wood and playing cards with blue collar types . I know America prides itself on being a classless society but Doctor Fowler comes across as too egaliterian

Despite this minor flaw in characterisation Tom Wilkinson gives an outstanding performance as Matt Fowler . If you don`t know this already let me point out Wilkinson is a Brit best known for his supporting role in the totally overrated THE FULL MONTY but he`s totally convincing as an American in this film and it`s great to see an actor play their role in such an understated way . The rest of the cast are equally good and everyone manages to communicate the grief their characters are going through.

I did criticise a point in the script earlier but - Despite being somewhat slow - the script is a good one devoid of melodramatic nonsense that could have so easily have infected it and contains nice little touches like when Matt sees the name " Strout " and gives a haunted look after being reminded of his grief . It`s something I can relate to when a simple word reminds me of loss . I guess everyone can relate to this too .

So IN THE BEDROOM is a good film , but it should be pointed out you`ll be disappointed if you watch it expecting a feel good movie

Horrible Movie

[princessmabel · 1/10 · 29 April 2005]

Why do people think that you need to touch on a horribly tragic topic to make a wonderful movie? There is enough sadness in the world without seeing a story of a vengeful father looking to try and right a wrong. This movie is depressing from the word go. A typical case of one person thinking they can solve another person's problem, only to be killed by the problem's source. And a parent trying to fix the tragedy by creating another one. It is painful to watch the parents suffer through the loss of their son. It offers no positive solution, or any thoughtful guidance for someone who has experienced such sad events in their own lives. Forget this movie. There are too many wonderful things in the world!