When the movie opens, a man is just re-emerging into the world after a nervous breakdown caused by the traumatic loss of his wife while his son was just an infant. It's 7 years later, and the man has repressed the memories of his wife's death, and spends his time working a menial job and leaving small gifts on the front porch of the home where his son is now being raised. Eventually, the man and the boy come face to face and, as he and the boy start to bond, the man begins to remember fragments of the buried trauma. While this experience propels him inevitably back to mental trauma, He tries his best to connect with his son in a critical way.
Those saying it's a bad movie simply because it's bad as a slasher should be reminded that the likes of Jordan and Alexandra often don’t get their tales told, let alone in such major releases helmed by veteran actors like Bacon.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.
This comedy brings a big surprise to Josh and his family when they move to New York City and struggle to adapt to their new friend.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
"Well, the film industry is completely sexist and completely class-biased." A closer look at Lynne Ramsay's impressive body of work.
The trainwreck is hot but tame.
