Based on the actual events of the West Memphis Three, where three young boys were savagely murdered in West Memphis, Arkansas in 1993. Spurred on by the demand from a grieving town, the local police act quickly to bring three "devil-worshipping" teenagers to trial. With their lives hanging in the balance, investigator Ron Lax is trying to find the truth between the town's need for justice and the guilt of the accused.Written by
Pam and her husband Terry drive up to the dead end road where all the first responders are gathered, to find out the news that they have found the dead bodies of the 3 missing boys.
There are 2 actors walking right behind Pam (Reese Witherspoon) as she is walking up the police, then standing right behind her when she hears the news. Upon hearing the news that her son's body was found, Pam faints and the man and women standing behind her catch her and help her to the ground.
But a split second before Pam falls to the ground, the male actor on the left braces for her fall and puts his hand on Pam's (Reese's) back to help her, before she actually falls. See more »
Well, that's all right, mama / That's all right for you / That's all right, mama, just any way you do.
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Leaves heartbreaking mystery for viewers to 'solve'
Director Egoyan personalizes the murders of three eight-year-old boys, drawing in tight on the grief of Pam Hobbs (Witherspoon), the mother of one of the victims. At the same time, by pulling back to the POV of savvy private investigator Ron Lax (Firth), who volunteers to assist attorneys for the three teenagers charged with the crime, Egoyan portrays with a cold eye the mistakes, maneuvers and mayhem that shaped its aftermath. For viewers, the result is a creeping sense of dread that this mystery, based closely on true events, is about to veer into even darker territory than that of the crime scene itself.
Egoyan knows--as will many viewers--that the state of Arkansas considers this chilling case solved. He challenges that certainty by allowing a spider of doubt to enter and move insidiously from one scene to another, until viewers are caught in the web of this case--one that, two decades later, still holds almost everyone who's encountered it. This is "The Crucible" of our time, only here, the hysteria is felt, not seen, and the persecution continues. By understating his story, Egoyan lets a legion of details--factual and emotional--bedevil it.
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