Preest is a masked vigilante detective, searching for his nemesis on the streets of Meanwhile City, a monolithic fantasy metropolis ruthlessly governed by faith and religious fervor. Esser ... See full summary »
Depressed housewife learns her husband was killed in a car accident the day previously, awakens the next morning to find him alive and well at home, and then awakens the next day after to a world in which he is still dead.
A 14-year-old girl in suburban 1970's Pennsylvania is murdered by her neighbor. She tells the story from the place between Heaven and Earth, showing the lives of the people around her and how they have changed all while attempting to get someone to find her lost body. Written by
Helen Hunt was reportedly considered for the role of Abigail Salmon. Instead, Rachel Weisz accepted the role, and was the first actor cast in the film. See more »
When Abigail and Richard are in bed, we see that Abigail is reading Exile and the Kingdom by Albert Camus. As Richard begins to kiss her, she is seen reaching toward the nightstand to place the book on top of a pile of other books, including Siddhartha by Herman Hesse. In doing so, she accidentally knocks both books to the floor, but in the next shot, as she reaches over to turn the lamp off, Siddhartha has reappeared on top of the pile of books on the nightstand. See more »
I remember being really small; too small to see over the edge of a table. There was a snow globe, and I remember the penguin who lived inside the globe. He was all alone in there, and I worried for him.
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I'd like to preface my review with a comment about the negativity circulating around here about this movie. I don't think it's any coincidence that some of these self-appointed "film-making experts" who have nothing remotely positive to say about Jackson's effort cannot formulate complete sentences. It's not surprising at all that someone obsessed with the wetness of a prop in one scene and its dryness in the next lacks the faculty and capacity to appreciate the many merits of this film. It's ridiculous to knit-pick on 'unrealistic' depictions of this aspect of day to day life or that aspect. If you want a realistic depiction of day to day life, observe the world around you, not a movie screen.
The Lovely Bones is being unfairly hammered as maudlin drivel. Some of the concepts and visuals are on the representational side, but if you take this film as a strange amalgam of a murder/suspense thriller and a fantasy in the vein of a children's book, it all works perfectly. The emotional outpouring is portrayed very well by all the players involved. None of it seemed forced. I became emotionally invested early on and the overall impact of this work struck a chord in me that resonated deeply.
More than anything else, this film is unique. Jackson takes many chances when one considers all the traditionally accepted conventions of film making, but unless you are one of those self-absorbed, self-important film student types who endlessly struggle with the "rules of making good films," you'll get something out of this.
The use of CGI was adventurous to be sure, but if one views this piece as an interpretation of life, love, and death through a fantastical lens, then the effects remain harmonious to the telling of the story. More, the CGI in this case describes 'world's unseen,' metaphysical possibilities existing simultaneously without the bounds of physical space and time. A welcome departure from space ships and crumbling cities. Some of the nastiest complaints about the CGI are coming from people who probably have no problem with giant robots that transform into cars and trucks.
Acceptance of a fictional story, the suspension of disbelief, these events occur in the relationship between a movie and its viewer completely apart from all the rules of pacing, subtext, and all the rigid pigeonholes that don't really apply to the creative process anyway. I did not find the Lovely Bones to be maudlin, and I am a pretty jaded movie-viewer.
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