Wong Kar-Wai's movie about two love-struck cops is filmed in impressionistic splashes of motion and color. The first half deals with Cop 223, who has broken up with his girlfriend of five ... See full summary »
Kar Wai Wong
Tony Chiu Wai Leung
As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers.
Alternately tragic and comic, an exploration of the complexities of love in both its brightest and darkest corners. Adapted from John Irving's best-selling novel A Widow for One Year, the film is set in the privileged beach community of East Hampton, New York and chronicles one pivotal summer in the lives of famous children's book author Ted Cole (Jeff Bridges) and his beautiful wife Marion (Kim Basinger). Their once-great marriage has been strained by tragedy. Her resulting despondency and his subsequent infidelities have prevented the couple from confronting a much-needed change in their relationship. Eddie O'Hare, the young man Ted hires to work as his summer assistant, is the couple's unwitting yet willing pawn - and, ultimately, the catalyst in the transformation of their lives. Written by
The title of the paper that Eddie is typing is "A Sound Like Someone Trying Not to Make a Sound." As he is typing it the first occurrence of 'Sound' is upper case. When he finishes typing the title 'sound' is lower case. Later in the movie when he looks at the paper 'Sound' is upper case again. See more »
[discussing Eddie's first story]
Oh, its very heartfelt. Very personal. Well, its just a collection of personal anecdotes that don't really add up to much.
I was just trying to see if could write something that seemed true.
Oh, it seems true. It just isn't very interesting. It sort of an emotional outburst, but it really isn't a story.
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As a huge follower of Jeff Bridges' work, I am here to tell you that if you're a fan too, you must jettison yourself out of your chair forthwith and propel yourself immediately to a theatre where this magnificent film is showing.
The Door In The Floor gives Bridges a chance to create a character truly worthy of his subtle (and generally overlooked) brilliance; his organic, from-the-inside-out approach makes what he does seem so effortless, so thoroughly not-like-acting that he's generally hardly given his due, and if he doesn't garner some serious recognition for what he brings to the table here, there's quite simply no hope for the world.
This is a film of deep, devastating power - a film where you, as an audience member, actually share space with the two main characters, Ted and Marion Cole (Bridges, of course, and an equally-brilliant Kim Bassinger, who once again reminds us why she won an Oscar a few years back). We inhabit their crumbled world, from the inside, not just as observers. By the end, we feel as if we have gone through their tragedy with them, and when I left the theatre, I felt as if my life had been changed by sharing with them what I just shared - as if time itself had stopped and left me suspended in there, with them.
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