"Bull" McCabe's family has farmed a field for generations, sacrificing endlessly for the sake of the land. And when the widow who owns the field decides to sell the field in a public ... See full summary »
14-year-old György's life is torn apart in World War II Hungary as he is sent to a concentration camp where he is forced to become a man, and learns to find happiness in the midst of hatred, and what it really means to be Jewish.
Jewish brothers in Nazi-occupied Eastern Europe escape into the Belarussian forests, where they join Russian resistance fighters and endeavor to build a village in order to protect themselves and about 1,000 Jewish non-combatants.
Some say that all houses have memories. For one man, his home is the place he would kill to forget. A family unknowingly moves into a home where several grisly murders were committed...only to find themselves the killer's next target. Successful publisher Will Atenton (Craig) quit a job in New York City to relocate his wife, Libby (Weisz), and two girls to a quaint New England town. But as they settle into their new life, they discover their perfect home was the murder scene of a mother and her children. And the entire city believes it was at the hands of the husband who survived. When Will investigates the tragedy, his only lead comes from Ann Paterson (Watts), a neighbor who was close to the family that died. As Will and Ann piece together the disturbing puzzle, they discover that the story of the last man to leave Will's dream house will be just as horrifying to the one who came next. Written by
Was originally rated R by the MPAA for "some violence" but the film was later edited to achieve a PG-13 rating for "violence, terror, some sexuality and brief strong language." See more »
When Jack talks to the hit man on the phone to prepare for the murder, the hit man tells him "I see Jack's wife outside right now." Since he is talking to Jack at that moment, he should have said "I see YOUR wife outside right now," and not refer to him in the third person. See more »
The shame is not in the copycat techniques but rather in the failure to exploit the stolen ideas to the fullest extent.
Dream House had plenty of potential with its story, despite the fact that it's completely derivative of two other movies. Revealing those films would spoil the surprise, as they are both popular and well-received by audiences and critics alike. The shame is not in the copycat techniques but rather in the failure to exploit the stolen ideas to the fullest extent. Dream House fuses the plots cleverly, but fizzles when the first big reveal can be guessed 45 minutes in (if not sooner) and is then purposely betrayed at the one hour mark so that audiences can ponder and digest the not-so-shocking revelation.
Will Atenton (Daniel Craig) has finally decided to quit his job as an editor at GPH Publishers to spend more time with his wife Libby (Rachel Weisz) and kids (Taylor and Claire Geare) and to start writing a book. He moves to a large house in rural Fairfield County, which holds a dark history. In his new home, undisclosed by his realtor, a father brutally murdered his wife and kids. Will eventually learns that the unhinged man, Peter Ward, spent five years in a psychiatric ward and was then released to a halfway house nearby.
Will's children aren't too fond of the considerable dwelling, especially when they see a mysterious man watching them through the window. Fresh footprints in the snow support their sighting, and Will is repeatedly awoken by bumps in the night. The neighbor across from him, Ann Patterson (Naomi Watts), knows something of Ward's incarceration, but refuses to divulge information. Everyone in the town seems rather tight-lipped about the deadly incident, and Will takes it upon himself to get to the bottom of it. When someone continues to harass his family by stalking the house, he visits Ward's institution to uncover some startling evidence.
An accomplished, celebrated cast of characters gives Dream House a higher quality (than its B-movie origins) and greater promise. Some will say they're wasted on this script, but it's not as dismal as that. Unfortunately, it's the kind of storyline that needs polishing, a few more solid thrills, and smarter twists or at least more intelligent psychological zigzags. The serene music compliments the sense of foreboding that steadily creeps into the picture, along with the savvy use of mirrors, reflections, general mise en scene, and shuddersome environment (namely the hallway and basement). Most of it is gimmicky but effective. But as with any mystery, the solution is the most crucial aspect it's the one element that proves most memorable and determines whether or not the film will be recognized as unique. If a whodunit concedes a letdown, even its high points are unlikely to be forgiven.
The Massie Twins (GoneWithTheTwins.com)
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