6.8/10
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The Boys Are Back (2009)

PG-13 | | Drama | 12 November 2009 (Australia)
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2:30 | Trailer
A sports writer becomes a single parent in tragic circumstances.

Director:

Scott Hicks

Writers:

Simon Carr (novel), Allan Cubitt (adaptation)
6 nominations. See more awards »

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Cast

Cast overview, first billed only:
Clive Owen ... Joe Warr
Emma Booth ... Laura
Laura Fraser ... Katy
George MacKay ... Harry
Nicholas McAnulty Nicholas McAnulty ... Artie
Julia Blake ... Barbara
Chris Haywood ... Tom
Erik Thomson ... Digby
Natasha Little ... Flick
Lewis Fitz-Gerald ... Tim Walker
Nakia Pires Nakia Pires ... Lucy
Emma Lung ... Mia
Steven Robertson ... School Housemaster
Georgina Naidu ... Paula
Daniel Carter Daniel Carter ... Digby & Paula's Child
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Storyline

The Boys Are Back is a confessional tale of fatherhood. It follows a witty, wisecracking, action-oriented sportswriter who, in the wake of his wife's death, finds himself in a sudden, stultifying state of single parenthood. Joe Warr throws himself into the only child-rearing philosophy he thinks has a shot at bringing joy back into their lives: "just says yes." Raising two boys - a curious six year-old and a rebel teen from a previous marriage -- in a household devoid of feminine influence, and with a lack of rules, life becomes exuberant, instinctual, reckless... and on the constant verge of disaster. The three multi-generational boys of the Warr household, father and sons alike, must each find their own way, however tenuous, to grow up. Written by Miramax

Plot Summary | Add Synopsis

Taglines:

Growing up can be the adventure of a lifetime. See more »

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG-13 for some sexual language and thematic elements | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

BBC Films | Hanway Films | See more »

Country:

Australia | UK

Language:

English

Release Date:

12 November 2009 (Australia) See more »

Also Known As:

De vuelta a la vida See more »

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Box Office

Opening Weekend USA:

$49,342, 27 September 2009

Gross USA:

$809,752

Cumulative Worldwide Gross:

$3,234,705
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

As director Scott Hicks began working closely with screenwriter Allan Cubitt, he found himself more and more swept up in the Carr family's unusual trek towards reconciliation. "It's a very personal story about people trying to reconnect with each another and about all these ingredients, love, loss, humor, which make up our everyday existence," said Hicks. "As a father, I couldn't help but identify with the situations and emotional conflicts, which made it very close to home." See more »

Quotes

[first lines]
Joe Warr: [narrating] I don't know whether you've ever seen a map of a person's mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting. But catch them trying to draw a map of a child's mind, which is not only confused, but keeps going round all the time. There is zig-zag lines on it, just like your temperature on a card. And these are probably roads in the island, for the Neverland is always, more or less, an island.
See more »

Connections

References Snow White and the Seven Dwarfs (1937) See more »

Soundtracks

Indian Summer
Written by Jon Thor Birgisson (as Jón Þór Birgisson) & Alex Somers
Performed by Riceboy Sleeps
Licensed courtesy of EMI Records
See more »

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User Reviews

 
Uplifting, devastating, authentic and low key - an unassuming success in compelling emotional storytelling
30 December 2009 | by pyrocitorSee all my reviews

Going by a superficial examination of director Scott Hicks' latest human drama, The Boys are Back, it might prove incredibly difficult to envision how the story, detailing the death of a spouse, healing through father/son bonding and the struggle to balance personal and selfless agendas in life, could avoid caving to contrived Hollywood sentiment and easy storytelling cliché. However, bearing this concern in mind, Hicks' film can be seen as affirmation to the fact that real stories of loss and emotional rebirth can be told without simply succumbing to excessive saccharine convention while retaining their authenticity, as The Boys are Back fuses humour, heartbreak, power and poignancy with the greatest of ease and with a complete lack of pretension, feeling impressively real and all the more resonant because of it.

While the film could be described as a challenging watch due to its upsetting subject matter, more challenging (in an entirely positive sense) is Hicks' refusal to provide the viewer with 'easy answers' or superficial narrative or emotional closure. Rather than providing a streamlined narrative filled with requisite Hollywood exposition and filler scenes, the film appears to simply jump from scene to scene, providing a clear sense of an overarching narrative, but with more of a clunky, episodic flow, devoting nearly as much emphasis to seemingly banal scenes as Owen's character struggling to do the laundry or leisurely sequences of the boys playing (framed by the sumptuous scenery of Southern Australia)as more pivotal plot points. However, such a narrative style amplifies the sense of realism of the story, as if Hicks' cameras simply happened across the events unfolding rather than them being carefully predetermined for maximum emotional effect, as one might see in a more carefully tailored Hollywood film. Similarly, despite the superficially fragmented sense of narrative, through representing seemingly inconsequential moments interspersed with the major emotional scenes, Hicks' story paradoxically feels all the more flushed out, hinting at a much grander story looming beyond its collection of trace moments, and feeling all the more realistic and impactful because of it.

However, Hicks' film truly excels at providing moments of raw, often tear-jerking emotion, without them ever seeming forced or false. The subtlety and abruptness of Owen's wife falling ill is all the more devastating through its lack of overt begging for sentiment, and many of the scenes of Owen attempting to cheer up his sons are likely to leave few dry eyes in the house through their overwhelming charm and the sheer naturalistic joy they evoke. As such, while the film is not without its occasional faults (rocky patches of dialogue crop up throughout and the story begins to drag as it approaches the end), its sheer power, emotional poignancy and Hicks' refusal to beat the audience over the head continually instils the film with life and immediacy, making it a perpetually interesting watch.

However, as with many such intimate human dramas, it is the strength of the central performers which really drives the film home. Clive Owen is simply flooring as the struggling sports writer attempting to find equilibrium between his own concerns and grief and taking care of his two sons after the unexpected death of his wife. Giving a performance brimming with pathos but also necessary charm, Owen easily delivers his best work to date: a magnificent, unshowy and achingly true portrait of a man in crisis which proves utterly unshakable after the film is done. However, as capable as Owen is, the performances by Nicholas McAnulty and George MacKay as his two sons (younger and older respectively), who prove just as proficient at delivering staggeringly honest, powerful, charming and heartbreaking performances of two boys caught between acting their ages and dealing with emotional trauma potentially beyond their capacities. Laura Fraser is also a heartbreaking and memorable presence as Owen's tragically deceased wife, seen largely in imagined conversations with him throughout the narrative.

Whether extracting tears of heartbreak or cheers of joy from the audience, Hicks' The Boys are Back proves a remarkably effective yet impressively low key drama filled with enough scrappy humour to provide much needed balance. With astonishing performances sure to attract awards attention, the film will hopefully begin to garner more widespread recognition and attention, which it unquestionably merits and deserves.

-8/10


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