Sarah Keaton has just passed away following a difficult bout of cancer. She is survived by among others her loving executive chef/restaurateur husband, Tom Keaton, and their eight year old son, Oscar Keaton. The end of the Keatons' marriage was difficult not only because of the cancer itself, but also because they had divergently different views on treatment, and because her early prognosis was positive leading to both not treating the news of her imminent death well. Tom copes recklessly, irresponsibly and angrily in his grief, manifested by among other things indiscriminate casual sex with a multitude of partners. Also negatively affected by Tom's actions is Sarah's sister, Karen, who feels she needs to be the responsible one, especially as Oscar is often a casualty of Tom's irresponsibility. Many of the Keatons' friends and colleagues try to be there for Tom in any way they can, including Miriam, a therapist who is more a friend of a friend. Tom may have to go through much pain ... Written by
Gorgeous photography and tricky structure can't hide meagre, overlong story and dull central performance.
Initially I was dazzled. I didn't mind that I was being toyed with, because watching this brilliant piece of manufactured cinema-conjuring was exciting. I was always aware that I was watching a clever movie, rather than being immersed in an emotional experience. But once I'd worked out what was going on and who was who I become tired of the repetitive backwards/forwards structure, and the lack of anything to say, apart from the fact that the smarty-pants hero finds grieving a tough call. The central character - played with about three expressions by Matthew Goode - suffers a tragedy and tries to cope by behaving like an adolescent on a bender, which, I assume, is supposed to be endearing, but is mostly tedious and repetitive. He and his beloved wife are well suited, as she is equally pleased with herself. Their son, the only character I really cared about is worth watching; as is Essie Davis, as his aunt. There are a few touching moments, but they are far outweighed by scenes that you've seen before, in better and worse dramas on TV and in other movies, and even already in this film... on and on and on with no progression. The Script Editors should re-train. This would make a terrific short; unfortunately it's a long.
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