In idyllic Mid-Coast Maine, the Fowler family's only son Frank comes home from his freshman year at college for summer vacation. His mother Ruth, the school choir director, is unhappy with Frank dating soon-to-be divorced mother Natalie who is several years his senior, but Frank's father Matt, the town doctor, doesn't see a problem. While Frank considers holding off his future for Natalie, her jilted husband causes them all problems until an unthinkable tragedy shakes the community to its very core. Written by
This is the highest grossing non-IMAX film in history to never reach the top 10 in a given week. See more »
The camera lens is plainly visible in the shot of Matt Fowler driving in his car. See more »
Did you see my new rig out there?
It's not exactly new, I traded David the truck for it. It's got room for all of us. Good grocery-getting car. Hey, do you wanna take a ride?
Richard... you don't change. You don't change, do you?
Change? No, I don't change. Everything around me changes. You change. You take my house... and you take my kids... and you fuck this other guy. But me, no, I don't change.
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Baby I Love Your Way
Written by Peter Frampton
Performed by Peter Frampton
Copyright 1975 Almo Music Corp.
On behalf of itself and Nuages Artists Music Ltd. (ASCAP)
Courtesy of A&M Records
Under license from Universal Music Enterpises See more »
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.
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