And while I now wish it hadn't been, it does make for another "Better late than never, Dr. Smith!" moment to have just discovered this rich little treasure of cinema. I'd heard of it for the longest & knew of its rep as an acclaimed bit of moviemaking, but just is 1 I hadn't got to - "until now," as J. T. Kirk said cuttingly to Mr. Baris. It wasn't the greatest beginning - first a puzzling clash of program guide info calling it a "comedy" & cinemax's very 1st characterization of "violence," then the eek-a-mouse revelation of M. Broderick in the mix (which aside from exactly 6 other films e.g. The Freshman (1990), Bee Movie (2007) (none of his liquid ball-bearing eyes to tire mine), the bomb diggity The Stepford Wives (2004) &, strangely, Torch Song Trilogy. (1988), no Ferris Bueller fuzzies here, the man scrapes my last good nerves), + once again the "music supervisor" making opening credits *and* before the composer, didn't exactly make for an Oh Goody! Start.
But then, after a slightly clumsy tragic opening scene, I became enchanted by first the Rolling Hills & the beautiful old house, then Miss Laura Linney who "right from the very start" drew me into the story with her totally lived-in performance - nothing exaggerated/forced, no phoned-in line readings i.e. The wretched dialogue of Talladega Nights (2006). Then comes this Mark Ruffalo, whose name I know from reading of, good notices which were proven in his also sincere portrayal of an empty wallet rapscallion with money on his mind who grows into more than that without mushy sentimentality. And most refreshing is the surprising work by "Introducing Rory Culkin," a groanworthy name that did not much. But this little boy was way beyond that screechy older brother of his, who while the whole world was swooning isn't-he-cute! Over Home Alone (1990) I was rooting for the invaders. His even, never colored-outside-the-lines but not wooden, shallow or, like the elder version, of a "plastic" insincerity, rendering of a single kid among a batch of adults with oddly shaped character traits, mommy included, was a hallmark of this ensemble performance. He should've had a nomination too. The 1 thing that I looked at askance was how Ruffalo transformed into, though thankfully briefly, a goofy Tony Danza rerun in Taxi ('78-'83) during the seriously underestimated "reunion" that turned out to be the "violence" cinemax listed first, & which had me on something of an edge wondering what/when/who this would manifest. Wasn't Broderick as I hoped, though his rigid coldly by-the-book character got his, after a fashion, when confronted with the potential consequences of his Tawdry Affair if he dared to toss Sammy out the door. His moment of squirming & richly deserved capitulation was nicely done, though it don't "soften (my) mood" about him save the above-mentioned.
And while I declined to read the too-long criticisms in its wiki article, I caught a fleeting glimpse of a complaint about "unresolved issues." Go run to the 2019 alleged "grand finale" to that miserable Mouse Wars pile, which I've read came in for a tsunami of withering critiques. To me this film capably demonstrated that all aspects of life do not conclude "tidily" but this left in the main still a flavor of hope, of positive outlook & anticipation that was so moving in its quiet, "ordinary people" way that my soul wept, though not from sorrow, when the vocals to the beautiful closing-credits music began. What more one could ask from a trip through the cinematic looking glass that the naysayers griped & whined about like the kind of brats which Rory Culkin did *not* embody, I don't know - "and (care) less." Being zippo of a fan of J. Roberts, I expect though she broke out of her rapsheet of Silly Girl roles enough to win Best Actress that year, but I still love Miss Laura for her beautifully realized (non)housewife, a loving mother defiant of interference & strongly resistant to the will of others (men) attempted to be imposed on her. She's something of a Ripley or a Connor of "the green hills of Earth" whose unaffected portrayal every bit deserved her nomination. And long time as it was me seeing this, in the end I'm grateful to have at last done so, adding a new favorite to my list. Now it's off to see what the Goofmeisters have come up with for (real) laughs!
But then, after a slightly clumsy tragic opening scene, I became enchanted by first the Rolling Hills & the beautiful old house, then Miss Laura Linney who "right from the very start" drew me into the story with her totally lived-in performance - nothing exaggerated/forced, no phoned-in line readings i.e. The wretched dialogue of Talladega Nights (2006). Then comes this Mark Ruffalo, whose name I know from reading of, good notices which were proven in his also sincere portrayal of an empty wallet rapscallion with money on his mind who grows into more than that without mushy sentimentality. And most refreshing is the surprising work by "Introducing Rory Culkin," a groanworthy name that did not much. But this little boy was way beyond that screechy older brother of his, who while the whole world was swooning isn't-he-cute! Over Home Alone (1990) I was rooting for the invaders. His even, never colored-outside-the-lines but not wooden, shallow or, like the elder version, of a "plastic" insincerity, rendering of a single kid among a batch of adults with oddly shaped character traits, mommy included, was a hallmark of this ensemble performance. He should've had a nomination too. The 1 thing that I looked at askance was how Ruffalo transformed into, though thankfully briefly, a goofy Tony Danza rerun in Taxi ('78-'83) during the seriously underestimated "reunion" that turned out to be the "violence" cinemax listed first, & which had me on something of an edge wondering what/when/who this would manifest. Wasn't Broderick as I hoped, though his rigid coldly by-the-book character got his, after a fashion, when confronted with the potential consequences of his Tawdry Affair if he dared to toss Sammy out the door. His moment of squirming & richly deserved capitulation was nicely done, though it don't "soften (my) mood" about him save the above-mentioned.
And while I declined to read the too-long criticisms in its wiki article, I caught a fleeting glimpse of a complaint about "unresolved issues." Go run to the 2019 alleged "grand finale" to that miserable Mouse Wars pile, which I've read came in for a tsunami of withering critiques. To me this film capably demonstrated that all aspects of life do not conclude "tidily" but this left in the main still a flavor of hope, of positive outlook & anticipation that was so moving in its quiet, "ordinary people" way that my soul wept, though not from sorrow, when the vocals to the beautiful closing-credits music began. What more one could ask from a trip through the cinematic looking glass that the naysayers griped & whined about like the kind of brats which Rory Culkin did *not* embody, I don't know - "and (care) less." Being zippo of a fan of J. Roberts, I expect though she broke out of her rapsheet of Silly Girl roles enough to win Best Actress that year, but I still love Miss Laura for her beautifully realized (non)housewife, a loving mother defiant of interference & strongly resistant to the will of others (men) attempted to be imposed on her. She's something of a Ripley or a Connor of "the green hills of Earth" whose unaffected portrayal every bit deserved her nomination. And long time as it was me seeing this, in the end I'm grateful to have at last done so, adding a new favorite to my list. Now it's off to see what the Goofmeisters have come up with for (real) laughs!