Producer Nicole Kidman's dream project (according to a 12/10/10 "New York Times" article) comes to the screen as an investigation of how people grieve, don't grieve, and (hopefully) heal.
As a cost-cutting measure, this digitally shot (Red) film centers on a couple who lost their son when a young driver swerves to avoid the dog the four year chased into the street.
Eight months later, the grieving couple struggles within different grief Universes. The husband, more inclined to move on and feel the pain; the wife stuck in anger and bewilderment.
Comparisons to "A Single Man" are in order. "Rabbit Hole" is as morose, yet affords a peek at the possibility of sharing grief compared to solitary, internal expression.
The couple attends a grief support group whose mourners represent different aspects of grief: Bible thumpers thanking God for making another angel; grief junkie eight year veterans who offer an unappealing vision of the couple's future.
Add a terrific performance by Dianne Weist as Kidman's mother, she who lost her junkie son, and Kidman's brother, age 30.
Kidman's n'er do well sister spices up the drama when she becomes pregnant.
There is palpable tension in every frame until the couple comes to loggerheads over sex and the husband's desire to have another child. Both wishes vehemently denied by the wife.
"Rabbit Hole" is the name of a comic book about parallel Universes, alternate outcomes. The comic is conceived by the young driver Kidman literally stalks in a desperate attempt to find answers to the tragedy. An emotional (non-sexual) triangle forms between husband and wife with the driver at the apex.
The drama peaks when the husband seeks sex (but doesn't physicalize) with a woman (Sandra Oh) from the support group. She too is hungry as spouse abandoned her. Simultaneously, the wife surreptitiously watches the driver leave for the Prom. She's awakened by the driver after spending the night camped in front of his home.
After threading these personal labyrinths, the couple reunites. There is no happy love-conquers-all ending here. Just the vaguest hint of promise as the wife takes the husband's hand.
The slow pace may bore some, as might the delicate subtlety and requirement to pay close attention. Every word, action and look has meaning and moves the story. It is a slow build to a low plateau, but, given the circumstances, it's quite a step for this sad, confused and angry couple. Real healing has a glimmer of a beginning.
Aaron Eckart is a bit out of his depth here. His forced performance drags the proceedings down a notch, and he doesn't hold attention in scenes with Kidman who has done better work ("Dogville").
Miles Teller as the driver seems to have taken a fistful of Xanax before each scene, or Spock popped in from some Universe and hit him with phaser set to stun. He is ineffective in this pivotal role.
"Rabbit Hole" exists on the border of subtlety and the hypnagogic. The drift between them causes the well-intentioned film to go down a bit hard. There's also a staginess from the play that pops up here and there. So be it.
Be prepared: the servings are cut a bit fine. It's a film one says of, "why isn't this better, given the (mostly good) cast and material?" Too much stage, not enough screen. Theoretically, alternative Universes have modulation, similarities and vast differences. Unfortunately, only one Universe exists here. Its name is boring.
As a cost-cutting measure, this digitally shot (Red) film centers on a couple who lost their son when a young driver swerves to avoid the dog the four year chased into the street.
Eight months later, the grieving couple struggles within different grief Universes. The husband, more inclined to move on and feel the pain; the wife stuck in anger and bewilderment.
Comparisons to "A Single Man" are in order. "Rabbit Hole" is as morose, yet affords a peek at the possibility of sharing grief compared to solitary, internal expression.
The couple attends a grief support group whose mourners represent different aspects of grief: Bible thumpers thanking God for making another angel; grief junkie eight year veterans who offer an unappealing vision of the couple's future.
Add a terrific performance by Dianne Weist as Kidman's mother, she who lost her junkie son, and Kidman's brother, age 30.
Kidman's n'er do well sister spices up the drama when she becomes pregnant.
There is palpable tension in every frame until the couple comes to loggerheads over sex and the husband's desire to have another child. Both wishes vehemently denied by the wife.
"Rabbit Hole" is the name of a comic book about parallel Universes, alternate outcomes. The comic is conceived by the young driver Kidman literally stalks in a desperate attempt to find answers to the tragedy. An emotional (non-sexual) triangle forms between husband and wife with the driver at the apex.
The drama peaks when the husband seeks sex (but doesn't physicalize) with a woman (Sandra Oh) from the support group. She too is hungry as spouse abandoned her. Simultaneously, the wife surreptitiously watches the driver leave for the Prom. She's awakened by the driver after spending the night camped in front of his home.
After threading these personal labyrinths, the couple reunites. There is no happy love-conquers-all ending here. Just the vaguest hint of promise as the wife takes the husband's hand.
The slow pace may bore some, as might the delicate subtlety and requirement to pay close attention. Every word, action and look has meaning and moves the story. It is a slow build to a low plateau, but, given the circumstances, it's quite a step for this sad, confused and angry couple. Real healing has a glimmer of a beginning.
Aaron Eckart is a bit out of his depth here. His forced performance drags the proceedings down a notch, and he doesn't hold attention in scenes with Kidman who has done better work ("Dogville").
Miles Teller as the driver seems to have taken a fistful of Xanax before each scene, or Spock popped in from some Universe and hit him with phaser set to stun. He is ineffective in this pivotal role.
"Rabbit Hole" exists on the border of subtlety and the hypnagogic. The drift between them causes the well-intentioned film to go down a bit hard. There's also a staginess from the play that pops up here and there. So be it.
Be prepared: the servings are cut a bit fine. It's a film one says of, "why isn't this better, given the (mostly good) cast and material?" Too much stage, not enough screen. Theoretically, alternative Universes have modulation, similarities and vast differences. Unfortunately, only one Universe exists here. Its name is boring.