We Need to Talk About Kevin

The story of a mother, Eva (Tilda Swinton), attempting to raise her deeply disturbed child, Kevin (Ezra Miller), before he goes on to commit a horrific act at his local high school.

We see her before the act and after, as she attempts to pick up the pieces of her shattered existence.

The narrative jumps through the years multiple times, giving us glimpses of Kevin's twisted, hate-filled relationship with his overworked, underappreciated, emotionally distant mother, Eva.

Each little jab turns into a bigger act of hatred, of defiance. A comment morphs into a slap. A poopy diaper leads to a fight which results in a broken arm.

It's hard to know how to feel. The jumps through time are often confusing, making everything feel like one run-on scene stretched far too long. The timeline is meant to be blurred, as though the passage of time matters little here. Maybe that's the point.

The warning signs regarding Kevin are all there, but Eva can't - or won't, it could be argued - do anything about them. Her husband, Franklin (John C. Reilly), is content in his role as the more "likeable" parent to Kevin, and ultimately he's utterly useless. He doesn't listen to Eva when she says something is wrong. He thinks she's to blame for Kevin's darker moments, or he chooses not to see them at all.

The family's little girl, Kevin's younger sister Celia, gets hurt at home, and Eva *knows* in her bones that Kevin did it on purpose, but she can't call him out because Franklin doesn't support her. Worse, he thinks she's projecting her own traumas onto her son (which may be true to an extent).

The situation is horrifying because we, the audience, know where this is going, but we are powerless to either understand it or stop it.

Would things have been different if Eva had been more loving? I highly doubt it.

Would it have been different if she'd been more disciplinary and authoritative, and forced her hand? Probably not.

It's true that some people should never be parents. It's also true that some children are monsters. Others can be saved. But could Kevin?

Though it's easy to throw around blame *after* a horrific events occurs, the truth is that nobody knew for sure what Kevin had planned. Could they have stopped it if they did?

Ultimately, the film frustrates because there's no easy answer. No conclusion. Everyone is to blame. There is no triumph of right over wrong. Life simply proceeds.

We need to talk about Kevin is easily one of the most harrowing films I've ever seen and left me completely empty. Lynne Ramsey succeeds where so many others dealing with a similar subject matter have failed, as she abstains from sensationalism and bloody detail. Instead she focuses in on character and relationship development and breakdown.

Tilda Swinton gives a truly great performance and even though the main thread of the story is clear almost from the start, she and the rest of the terrific cast manage to keep the viewer glued to the screen.

One of the most interesting facets of the film was that it showed how much power children can hold and execute over adults if they are given the opportunity.

We need to talk about Kevin is quality from start to finish and deserves to become a classic. I'm looking forward to seeing many more films by Lynne Ramsay.

We have to talk about Kevin is a movie by Lynne Ramsay who has shown that he knows cinema and knows the language of cinema. This film is an abstract film and a unique tragedy of a woman on the verge of collapse. An attractive collage of color, light, pop music, red motifs and abstract images well created by the director. Although the film is weak in characterization, especially for the character of the father, but thanks to the good direction, the film is strong and interesting.

Some friends say that the film asks the audience many questions and puts them in different situations, but it does not tell or give anything to the audience, and I reply that this is exactly pure cinema. The film raises important concepts that people should talk about, such as violence and its origin, unwanted pregnancy and its effects, inappropriate attachment patterns, the role of parents, the institution of the family and the role of society, attention, and more. The film also blends time well with its structural pattern and keeps the audience in time, present and past at the same time. At the end, the film raises this important question: How did kevin become a monster?

This movie jumps around in time. Eva Khatchadourian (Tilda Swinton) is a hard-partying drifter in her youth. In the present, she lives a lonely haunted life with a hostile town around her. In between, she marries the permissive Franklin (John C. Reilly) and has a suburban life with two kids. Her first child is the troubled Kevin (Ezra Miller, Jasper Newell). She's not a happy mother and they struggle to get along. Then a troubling incident sends Kevin to prison.

There is a lot of good acting in this. Tilda Swinton is good with her distancing. She shows that she's slightly troubled too. Ezra Miller is cold and scary. The movie doesn't go for the easy emotions. This is a haunted, cold and unsettling story. It's not a fun movie but it is a fascinating watch.

In an interview with Lionel Shriver' about her highly successful 2005 novel she commented on the difficulty of the project: 'It was admittedly draining. And throughout, I was anxious that because I had never had a child myself, I didn't know what I was talking about and readers who were parents would catch me out.' As adapted for the screen by director Lynne Ramsay and Rory Kinnear this story becomes a terrifyingly realistic exploration of the subject of inherent evil and the manner in which we deal with it. The film is particularly timely as we read almost daily of youngsters killing classmates in schools across the country. But first the story:

Eva Khatchadourian (Tilda Swinton) is trying to piece together her life following the "incident". Once a successful travel writer, she is forced to take whatever job comes her way, which of late is as a clerk in a travel agency. She lives a solitary life as people who know about her situation openly shun her, even to the point of violent actions toward her. She, in turn, fosters that solitary life because of the incident, the aftermath of which has turned her into a meek and scared woman. That incident involved her son Kevin Khatchadourian (Ezra Miller as a teenager and Jasper Newell as a 6 year old and Rock Duer as a toddler), who is now approaching his eighteenth birthday. Eva and Kevin have always had a troubled relationship, even when he was an infant. Whatever troubles he saw, Franklin (John C. Reilly), Eva's complacent husband, just attributed it to Kevin being a typical boy. The incident may be seen by both Kevin and Eva as his ultimate act in defiance against his mother.

Ramsay tells her story in bits and pieces of a collage of moments from the birth of Kevin to his incarceration. For some this kind of non-linear story telling may be disconcerting, but for this viewer it seems like a close examination of the mind of a mother who simply cannot believe she has birthed and is raising a child who is the epitome of evil. The fact that we are aware of something hideous that has happened from the beginning does not get in the way of watching the slow maturation of Kevin - first as a constantly screaming infant to a maliciously bad little boy to a viciously cruel and evil teenager with whom his mother cannot connect except for one very telling instance when she reads the young Kevin 'Robin Hood' and his arrows, at which point Kevin shows a degree of affection for Eva. That moment proves in retrospect to be the nidus for the horror that lies ahead. Yet to say more about the story wound diminish the impact one the viewer. Tilda Swinton is extraordinary in her role as is Ezra Miller. The film. At least, for this viewer, is a powerfully disturbing one and a very fine insight into how evil deeds can happen.

Grady Harp