6.0/10
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41 user 76 critic

The Harvest (2013)

Not Rated | | Drama, Horror, Mystery | 10 April 2015 (USA)
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A couple who keeps their sick son in a secluded environment find their controlled lives challenged by a young girl who moves in next door.

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1 win & 5 nominations. See more awards »

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Credited cast:
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Leslie Lyles ...
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Journey Smith ...
Pitcher
Rest of cast listed alphabetically:
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Nurse #1
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Boy in the Basement
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Schoolbus Kid (as Hayden Skigen)
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Storyline

The girl Maryann has just moved to the house of her Grandfather and Grandmother in the countryside after losing her parents. She is lonely and misses her former friends and decides to wander around the area. She finds the secluded boy Andy, who lives alone with his mother, the surgeon Dr. Katherine Young, and his father, the nurse Richard Young, in an isolated house. They immediately befriend each other and she enters in his room through the window to play video-game with him since Andy depends on a wheelchair to locomote. On the next day, Maryann visits her new friend again and Richard let her in to play with Andy. On the next day, Katherine does not allow Maryann to visit her son and she goes to the house of her grandparents to forbid Maryann to visit her son. However Maryann insists on visiting Andy when his parents are absent; out of the blue, they return and Maryann is trapped inside the house. She goes to the basement expecting to find a way out and stumbles with a dark secret. ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

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Taglines:

First the Fall, then The Harvest.


Certificate:

Not Rated | See all certifications »
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Release Date:

10 April 2015 (USA)  »

Also Known As:

A Ameaça  »

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1.85 : 1
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Trivia

When Katherine races into to the burning basement, part of the ceiling collapses upon her. This mirrors a real event where part of the ceiling at Samantha Morton's London home collapsed on her. See more »

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User Reviews

A Sense of Place, a Return to Form
10 September 2015 | by (Cincinnati, OH, United States) – See all my reviews

I am always more compelled when a story unfolds in an implicit fashion, as when John McNaughton's first feature film since 2001, The Harvest, opens on an incident that is not fully elucidated until several subsequent scenes contrast it with their own stakes and dimensions. We are kept in an ongoing state of anticipation by a patiently, implicitly unfolding story. Most movies feel more of a need to hit an overt, straightforward formula of beats, but what seasoned, patient filmmakers like John McNaughton are willing to hold out for is a contained, clear-cut storytelling style that slow-burns through on the way to pure and constant surprises.

Certain aspects of McNaughton's technique deliberately old-fashioned, and however that befits your tastes, it is that unhurried confidence that allows acutely poignant relationships to pop. There is something refreshingly and uncomfortably profound about the way the fearfully unpredictable Samantha Morton, as the mother of wheelchair-bound Andy, undermines his father, played with tangible vulnerability by gifted Steppenwolf alum Michael Shannon, her fears pushing her to antagonize those nearest and dearest, lashing out with keen cruelty to deflect her vulnerability, and tragically poisoning the already precarious atmosphere around her.

The Harvest, it should be made abundantly clear, is an acutely Midwestern film. You can feel it in its sentiment, in its traditional form, and in its piercing portrayal of awkward lulls and that apple pie sense of manners and politeness. Its center aim is on families and upbringing, and more specifically on the crippling feeling of being sheltered and living in a bubble. And as it unfolds into more psychotic territory, the more adult terror of being alone rears its ugly, ruining head.

Every viewer who grew up in Middle America had friends whose parents they despised. And we all remember the seemingly mortal fear of getting in trouble. The discomfort and suffering in this movie are palpable, owing to the powerfully subtle performances, the delicate direction and the knowing script, but also owing to its powerful sense of place. And when things take a harrowing turn, we're so engrossed that the tension never stops. And even at its most "sensational," it always keeps its feet on the ground dramatically.


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