The wind whips across desolate snow banks as a lone car meanders along an icy road. Disengaged divorcee Jay (Peter Sarsgaard) is at the wheel, ferrying his daughter Kayla (Joey King) through lonesome scenary to weekend practice for dance class all the while lost in the silence of his own mind. A shape looms on the horizon, a figure which sharpens into Britney (Devery Jacobs), Kaylas best friend waiting at a bus stop in the bitter cold. The car comes to a gentle stop as Jay pulls to the side of the road.
As Britney leaps into the car, a bruise can be seen on her face. Jay stares at the road ahead in auto pilot, disconnected from the drama unfolding in his backseat. But no sooner has he set back on their path are the girls asking to pull over once more. As they burst out of the vehicle and scurry into the woods to relieve themselves, Jay slowly emerges into the crisp, cold air. Steam rises from his breath as he impatiently ponders how long this will take. The minutes tick by, no sight of the girls. The frozen wasteland snaps at his extremities. But as Jay steps off the beaten path in search of the girls, his life will be forever turned upside down.
In the end, this is a story about family. We have all experienced to some extent being taken for granted, and the drifting away from the ones we love that follows. Marriages are tricky at the best of times, but far more so in such an unapologetically cynical and bitter world. Often it's easier to build walls around ourselves to protect us from being hurt, than it is to subject ourselves to the emotional risk posed by those in closest proximity to our hearts. The lie (co-written and directed by Veena Sud) reminds us we must be brave in the face of adversity, whilst working together with those we love to save one another, even if they might let us down.
As Jay and ex-wife Rebecca (Mireille Enos) work together to protect their daughter from danger, they find one another once more. Visuals eloquently portray the shifting emotions of the family through skillful selection of set design, light and colour. Yet inspite of its successes, the attentive viewer cannot help but feel disappointed by a plot which can only be described as immature. If there is a mistake to be made, one can rest assured this family will make it in the most outrageous manner possible. These mistakes serve merely to drive the plot forward with all the subtly of alarm bells at midnight. Yet, in the spirit of suspense, a fuse is lit and tension does build. Only to find itself nowhere, as the familys mistakes culminate in a long foreshadowed twist which robs the film of much of its power leaving the viewer feeling empty.
Individually the cast deliver appropriate scenes filled with raw emotion and cander. Nevertheless, together there is a distinct lack of chemistry which steals away what should be emotive scenes filled with punch. Unhelped by poor pacing as the film glosses over character development felling rushed and leaving scenes often feeling as disconnected as lovers past. There are good bones to this film. One can only wish more time was spent developing the story, its characters and selecting a cast whom feel at home together.
As Britney leaps into the car, a bruise can be seen on her face. Jay stares at the road ahead in auto pilot, disconnected from the drama unfolding in his backseat. But no sooner has he set back on their path are the girls asking to pull over once more. As they burst out of the vehicle and scurry into the woods to relieve themselves, Jay slowly emerges into the crisp, cold air. Steam rises from his breath as he impatiently ponders how long this will take. The minutes tick by, no sight of the girls. The frozen wasteland snaps at his extremities. But as Jay steps off the beaten path in search of the girls, his life will be forever turned upside down.
In the end, this is a story about family. We have all experienced to some extent being taken for granted, and the drifting away from the ones we love that follows. Marriages are tricky at the best of times, but far more so in such an unapologetically cynical and bitter world. Often it's easier to build walls around ourselves to protect us from being hurt, than it is to subject ourselves to the emotional risk posed by those in closest proximity to our hearts. The lie (co-written and directed by Veena Sud) reminds us we must be brave in the face of adversity, whilst working together with those we love to save one another, even if they might let us down.
As Jay and ex-wife Rebecca (Mireille Enos) work together to protect their daughter from danger, they find one another once more. Visuals eloquently portray the shifting emotions of the family through skillful selection of set design, light and colour. Yet inspite of its successes, the attentive viewer cannot help but feel disappointed by a plot which can only be described as immature. If there is a mistake to be made, one can rest assured this family will make it in the most outrageous manner possible. These mistakes serve merely to drive the plot forward with all the subtly of alarm bells at midnight. Yet, in the spirit of suspense, a fuse is lit and tension does build. Only to find itself nowhere, as the familys mistakes culminate in a long foreshadowed twist which robs the film of much of its power leaving the viewer feeling empty.
Individually the cast deliver appropriate scenes filled with raw emotion and cander. Nevertheless, together there is a distinct lack of chemistry which steals away what should be emotive scenes filled with punch. Unhelped by poor pacing as the film glosses over character development felling rushed and leaving scenes often feeling as disconnected as lovers past. There are good bones to this film. One can only wish more time was spent developing the story, its characters and selecting a cast whom feel at home together.
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