#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Echoes of “Madame Bovary” in the American suburbs. Sarah’s in a loveless marriage to an advertising executive, long days with her young daughter at the park and the pool, wanting more. Brad is an immature househusband, married to a flinty documentary filmmaker. Ronnie is just out of prison – two years for indecent exposure to a minor – living with his elderly mother, May; Larry is a retired cop, fixated on driving Ronnie away. Sarah and Brad connect, a respite of adult companionship at the pool. Ronnie and Larry have their demons. Brad should be studying for the bar; Larry misses his job; Ronnie’s mom thinks he needs a girlfriend. Sarah longs to refuse to be trapped in an unhappy life. Where can these tangled paths lead?
Plot: The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations.
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Just remarkable, because it goes in split second from laughter to deep tragic shock without affecting the credibility of the story, back and forth.
Every actor has been brilliantly directed and it is a gallery of portrays, not just two actors leading the story. I found myself so affected by it because of the sheer unpredictable storyline going to predictable then going back to the unknown.
You will watch how people whirl themselves into their own actions and then try to find a way out of these consequences. Then they free themselves at times, to trap themselves next. Absolutely brilliant, with an array of emotions succeeding to one another.
Visually sumptuous. People stayed in the theater and talked about it.
Looking back, you feel afterward how much love and dedication from director, crew and actors went into it. Just a stunning, beautiful movie.
Fine sexual drama with a small uncertainty of tone
Todd Field’s Little Children’s screenplay was written in collaboration with Tom Perrotta, on whose eponymous novel it’s based. Perrotta wrote Election’s, Bad Haircut’s, and Joe College’s funny, ironic screenplays before this. But though mildly satirical at times in its vision of middle-class white infidelity, this second film (at last) from the director of the powerful 2000 In the Bedroom, with its themes out of Cheever or Updike, also moves toward the solemn and the shocking.
One big reason for that is a second plot about a just-released sex offender and a troubled ex-cop who turns into a self-appointed protector of public morality campaigning to drive the ex-prisoner out of town.
Brad (Patrick Wilson) is a househusband caring for his little boy while feebly preparing for his previously failed bar exams. He has a gorgeous but emasculating wife, Kathy (Jennifer Connelly) who’s a successful PBS-style documentary filmmaker. Sarah (Kate Winslet), with an MA in English, in charge of a recalcitrant little girl with whom she has little patience at times, has a well-off distant husband (Gregg Edelman) who’s a pretentious adman who gets off on Web porn. Sarah and Brad meet in a park where moms take their kids, in East Wyndham, Massachusetts. They wind up kissing when they first meet, mainly to shock the other moms.
Brad and Sarah spend a lot of the summer minding their kids together at the municipal pool. This turns into a torrid affair with frequent sex at Sarah’s husband’s large house. They’re attractive, and attracted, and their general dissatisfaction with their spouses and with where they are now heightens their need to throw themselves at each other with the utmost abandon.
Meanwhile Ronnie (former child actor Jackie Earle Haley, vividly remembered from Bad News Bears and Breaking Away and strong in a new way here) has come into town: he’s the sex offender, a painfully self-aware one, and he lives with the one person who loves him, his aging mother Ruth (a convincing Phyllis Somerville), while the ex-cop, Larry (Noah Emmerich) wages his war as a one-man “committee.” Larry and Brad have met and Larry persuades Brad, who already wastes time watching boys skateboarding when he’s supposed to be boning up for the bar exam, to join a night touch football league team made up of cops and thus the infidelity and the sex offender elements are linked. But they would be anyway, because this is a small community. And one particularly hot day Ronnie comes to the municipal swimming pool and causes an outcry when he’s spotted ogling young girls under water.
The other moms from the park, who were afraid of Brad and called him “the Prom King,” are gently satirized by a voice-over narration spoken by Will Lyman, of Frontline on PBS, which sounds like a high school educational film. Perrotta is, after all, a comic writer. But more of that later.
The movie has a bright, intense, clear visual style, sometimes making use of extreme close-ups. Since the acting and directing are fine, this gives things a feeling of authority. It’s also effective in underlining both the satirical and the sensual aspects of the story, and heightens the emotional effect when the narrative lines move toward crisis.
Brad’s development (the novel-based voice-over tells us) may have been arrested by his mother’s dying when he was in his early teens, and this explains why he watches the skateboarding boys with such longing: they’re having the playtime that was stolen from him.
Another theme is that of Cheryl (Marsha Dietlein), Sarah’s friend and neighbor who baby-sits with her daughter when she’s having sex with Brad, speed-walks with her, and gets her into a book-discussion group leading to a pointed scene in which Madame Bovary is discussed and Sarah defends the adulterous heroine as someone who revolted in search of freedom. The older women nod approvingly, while one of the park moms doesn’t get it at all.
Partly because it’s hard to juggle all these elements from a 350-page novel, the ironic narrative voice disappears throughout the film’s midsection.
At the end matters all come to a head, with Brad and Sarah, with Ronnie, and with his erstwhile nemesis, Larry, and a lot of tension is created through Hitchcockian cross-cutting between these climaxing threads.
Field has avoided the extreme finale of his first film — this one shares such heavy concerns as families, infidelity, crime, and confronting death, but by contrast, this ending, though breathless and troubling, is ultimately sweet and marked by reconciliation and acceptance. One may wonder if underlying issues have really been resolved. The film feels somewhat overlong, but the nuanced characterizations and fine acting and the attractiveness of the central couple entertain and interest us mightily.
Perhaps the one weakness overall is a slight uncertainty of tone, which explains why some viewers are troubled by the voice-over (and also by its long disappearance midway). If situations are seen primarily as highly serious or even horrifying, it’s hard to see how the satirical feel fits in, and at the end we seem to have lost touch with where we started out. Ultimately as with so many American stories on film, the writers seem to have tried to tackle too much material. Nothing wrong with that, but they haven’t quite got the world-view to encompass it all. Technically though Field has achieved more polish and shown more confidence, even compared to his already admirable and powerful first film of five years ago. The cast is wonderful, well chosen and well used. Field is an experienced actor: he knows the craft. This has got to be a film to think about at year’s end when best lists are made up.
Original Language en
Runtime 2 hr 17 min (137 min)
Genre Drama, Romance
Director Todd Field
Writer Todd Field (screenplay), Tom Perrotta (screenplay), Tom Perrotta (based on the novel by)
Actors Kate Winslet, Jennifer Connelly, Patrick Wilson, Jackie Earle Haley
Awards Nominated for 3 Oscars. Another 20 wins & 58 nominations.
Production Company New Line Cinema, Standard Film Company Inc., Bona Fide Productions
Sound Mix DTS, SDDS, Dolby Digital
Aspect Ratio 2.39:1
Camera Arricam LT, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses, Arricam ST, Zeiss Master Prime, Ultra Prime and Angenieux Optimo Lenses
Laboratory DeLuxe, Hollywood (CA), USA (prints), DuArt Film Laboratories Inc., New York, USA, EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,600 m (Portugal, 35 mm), 3,739 m (Germany), 3,739 m (Sweden)
Negative Format 35 mm (Kodak Vision2 250D 5205, Vision2 200T 5217, Vision2 500T 5218, Vision2 Expression 500T 5229, Vision 200T 5274)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3513DI)