Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Cooktopi The acting in this movie is really good.

Casey Duggan It’s sentimental, ridiculously long and only occasionally funny

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Monica Handy I was craving a drama, light on the exaggeration, yet, rich and satisfying to my emotional needs. I found it in the 1999 classic, Eve's Bayou. The time is 1962; the place is the Louisiana Bayou... Not the "Bayou" that conjures visions of crocodile infestations and starving mosquitoes-No. I'm referring to a huge, white, plantation style home that sits on bay area property... Property, owned by it's inhabitants (the Batiste family) for centuries.They are privileged, intelligent, mysterious people who make you want to know more about them.Early on, we discover by the narrative of an adult Eve, that it is through the lineage and fine reputation of Dr. Louis Baptiste (played by Samuel Jackson) that these luxuries can be afforded. Furthermore, it is Dr. Batiste, who resides over this family as husband, father, son and brother. He is, by the very definition, a patriarch of southern distinction-the type whose presence can fill a room without speaking one word. But like all flawless appearances, there lies beneath, a blemish or two... Unfortunately it is the young and precocious Eve (played by Jurnee Smollett-Bell) who discovers these imperfections... Or should I say, sensitive "improprieties' and becomes traumatized. Supporting the eclipse of a life they once knew are the emotional dramatizations of her older sister, Cisely (Meagan Good), and her glamorous, sheltered mother, Roz (Lynn Whitfield)-One coming of age, the other, spiritually displaced.For the full review please visit https://niume.com/post/231587 or cootw.com

jcbinok Seeing page after page of 10 star reviews of Eve's Bayou, I felt compelled to add my $.02. Just watched this film last night, and generally thought is was very good. The filmmakers stuck with and developed the characters well. The opening party scene was a bit of a mish-mash of faces, so it took a while to suss out who was who, but as the film went on, that got worked out.Before writing a few criticisms, let me say that one thing I liked about the film was that it refrained from becoming a 'white/bad, black/good' story. In fact, I don't recall a single white face throughout, nor any dialog about race relations. That was refreshing.Now, what I didn't like. First: what the heck was with the wardrobes and make-up? Not only during the original party scene, but throughout the entire movie, the women are dressed up like they're going to a photo shoot or prom. Totally unrealistic/overly glam. Next: the hokiness of some of the dialog. After the family tragedy, for example, rather than hug Eve and let her cry, Aunt Mozel relates some abstract dream she just had. Ugh. The kid's 10, she just lost her father, and you're telling parables?Finally: I hated the ending. The father's letter reveals that he may have been innocent of his older daughter's accusation that he made a sexual advance toward her. When confronted by Eve, the best the older daughter can come up with is, "I can't remember." Are you kidding me? The sisters then dunk the father's letter in the swamp, forever to be unseen by its intended recipient, Mozel.Overall, good movie. Perfect? no.

thescienceoftrouble Kasi Lemmons was at the peak of her powers with "Eve's Bayou," a compassionate, morally complex drama that stands easily alongside other 1997 greats, "The Sweet Hereafter" and "The Ice Storm," but may even surpass those films in showcasing the rich yield of the director's signature extended rehearsal process. Impeccably designed, skillfully inhabited story of an African American family in the early 1960s performed by a peerless cast highlighted by an outstanding turn from Debbi Morgan.While the drama is emotionally harrowing it's also riveting, profoundly affecting and observed with a real generosity of spirit. The film also benefits from a deeply rooted sense of time and place -- in the haunting bayou landscapes, beautiful living quarters and vivid colors of the meticulous production design and in the muted, wintry tones of Amy Vincent's poised, detached camera-work. Terrance Blanchard's sonorous string score adds greatly to the emotional texture.This is a must see, and sure to become a classic.

policeridingmyback Kasi Lemmons' "Eve's Bayou" is a masterpiece. OK, "Eve's Bayou" might be a masterpiece. I'd have to do more than see it again to really know -- I'd have to see it again five or 10 years from now, when the distractions and diversions of its present context have fallen away. "Eve's Bayou" is a great film, though, to deserve its audience's best efforts to banish distraction and view it clearly.Lemmons calmly unveils one garish shock after another, always turning the screws a few notches past the point we'd expected. Her art has something in common with the works of Tennessee Williams , or the songs of Miles Davis: Like those towering artists, her vision is surpassingly caustic -- even, at times, vindictive. We can certainly yearn for magnificently accusatory artists like these to grow to find a greater sympathy in their work, a greater forgiveness. "Eve's Bayou" is so unrelenting that it may prompt such yearnings; I, for one, would be thrilled to see Lemmons heart open in her future work. But it would be a mistake to flinch from the greatness of "Eve's Bayou", with it's outstanding writing, direction, and superior acting, in the meantime.