'We need to talk about Kevin' is a tale of guilt, grief and shame of a mother (Tilda Swinton) whose son Kevin (Rock Duer, Jasper Newell and Ezra Miller) has committed an atrocious massacre at his school. Based on the acclaimed novel by Lionel Shriver (2003) and directed by Lyne Ramsey who has been missing from the movie horizon of recent years, a powerful and excellently constructed piece of cinema is upon us.
The storey encompasses the mothers' outlook on life before, during and after the event. The use of a non-linear time frame allows the film to be constructed in such a way that to those unfamiliar with the original text will be led in one direction of thought as to the characters progression only for the film to turn on its heels and lead you in another direction.
The casting and acting is of paramount importance in a film where the primary relationship between two characters forms the basis of context for the others. Swinton offers an excellent drawn out, confused, guilt ridden mother whereas Ezra Miller as Kevin gives us an unflinching look into the abyss of a sociopath.
The casting of as the father John C. Reilly for me was the only flaw, simply due to his recognisable and somewhat comical appearance, which when compared to the subtlety and non-obtrusive nature of the remaining cast and extras stands out although his performance was strong.
Ramsey's use of symbolism and carefully inserted mise en scene gives those with a more discerning eye glimpses of the details of the emotional frailties evident in the novel but which are often so hard to convert when any literary text makes the transformation into the medium of film, we all know the saying 'the book was much better'. But here the both Lynne Ramsey and Roy Kinnear develop an excellent screen play that will satisfy both those who have read the book and those who have yet to. The sequencing of opening shots in most scenes allows a strong sense of atmosphere to develop even before the characters have entered the scene or dialogue has even commenced.
The overall impact of the film rides through peaks and troughs. With some sections brilliantly gripping and others making you wish away the remainder of the film. In general the film does carry a strong and unsettling momentum until the final credits. For those looking for an action soaked gore fest will be left waiting as will those looking for the docudrama styled film similar to Gus Van Sants' Elephant (2003). The film won't be for all or maybe even for that many, but those who enjoy carefully layered cinema creations will be drawn to this title like a moth to a flame and with good reason.
The storey encompasses the mothers' outlook on life before, during and after the event. The use of a non-linear time frame allows the film to be constructed in such a way that to those unfamiliar with the original text will be led in one direction of thought as to the characters progression only for the film to turn on its heels and lead you in another direction.
The casting and acting is of paramount importance in a film where the primary relationship between two characters forms the basis of context for the others. Swinton offers an excellent drawn out, confused, guilt ridden mother whereas Ezra Miller as Kevin gives us an unflinching look into the abyss of a sociopath.
The casting of as the father John C. Reilly for me was the only flaw, simply due to his recognisable and somewhat comical appearance, which when compared to the subtlety and non-obtrusive nature of the remaining cast and extras stands out although his performance was strong.
Ramsey's use of symbolism and carefully inserted mise en scene gives those with a more discerning eye glimpses of the details of the emotional frailties evident in the novel but which are often so hard to convert when any literary text makes the transformation into the medium of film, we all know the saying 'the book was much better'. But here the both Lynne Ramsey and Roy Kinnear develop an excellent screen play that will satisfy both those who have read the book and those who have yet to. The sequencing of opening shots in most scenes allows a strong sense of atmosphere to develop even before the characters have entered the scene or dialogue has even commenced.
The overall impact of the film rides through peaks and troughs. With some sections brilliantly gripping and others making you wish away the remainder of the film. In general the film does carry a strong and unsettling momentum until the final credits. For those looking for an action soaked gore fest will be left waiting as will those looking for the docudrama styled film similar to Gus Van Sants' Elephant (2003). The film won't be for all or maybe even for that many, but those who enjoy carefully layered cinema creations will be drawn to this title like a moth to a flame and with good reason.