Acensbart Excellent but underrated film

Console best movie i've ever seen.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Freeman This film is so real. It treats its characters with so much care and sensitivity.

petersdraggon This movie was entertaining although a little weird. It was interesting to see Kevin Bacon & Ms. Tomei dressed in 70's garb. They played the part of a married couple totally engrossed in each other and alomist unaware they had a daughter, played by a young Kyra. There were flash-backs to when Kyra was the young daughter who was for the most part ignored by her parents, then flash-forwarding to when she was an adult. Kyra played the part of a woman obsessed with getting pregnant and becoming a mother. She used men as sperm donors only. Not much skin shown, however during the first half of the movie Kyra was running around in her panties with her headlights on for the most part. She really is a well put-together woman. For that it was almost worth the time; otherwise it was a story about a far-fetched mother's obsession with her son. The boy playing her son did a good job and was a cute child actor. Wasn't a total waste of time but not a blockbuster by any means.

D A Interesting though thematically bludgeoned "family" film detailing the singular obsession Emily (Kyra Sedgwick) has for producing and raising her very own child. While layering a good amount of light-hearted humor into the affair, the movie is undoubtedly subversive in the process of relaying so many well meaning points. The unique material will most likely find an audience with females, and mothers in particular, having much less of a hold on the opposite sex. Although this material is presented in a somewhat compelling manner through the textured workings exuded from Segwick, the novel that this was adapted from clearly lost something in transition, from the competent though unimpressive pacing that stretches some time periods out too long- yet feels way abridged in others, to a just plain unfortunate air of mediocrity found throughout the production values. Not helping things much is Loverboy himself, played by an adorable, but immature Dominic Scott Kay, who crushes some of the realism with his performance. Even as original and interesting as Segwick's character seemed, I became less interested as the character became caricature, displayed through the eventual predictability of her unpredictability. While it was every intention of the film to associate this character with those attributes, what should have been her son's perception of her, ended up being mine as well, which somehow negated all of Krya's quieter, and effecting moments. Bacon himself deserves a job well done for an admirable debut behind the lens (except for not getting more damn re-shoots of that kid!), offering decent direction and a funny little role to boot. The script's insistence at repeating itself does grate a little but fortunately the themes do hold water in this one, although primarily for women and in a non-direct, after-effect sort of way, due to the sensitive though underdeveloped screenplay.

b-gaist The problem with this film is that it tries to do too much. It is basically an attempt to describe the intergenerational dysfunctionality of the family of the main character, played ably at times by Kyra Sedgwick. Nevertheless, there are other moments when this female character, who is otherwise clearly possessed by numerous demons, just comes across as plain silly. Silliness isn't necessarily out of tune with what is really happening in this complex, but poorly-told tale; Kyra Sedwick's "parents" in the film are also silly, goofing around until the poignant moment when they realise their 10-year-old daughter singing David Bowie's "Life on Mars" acapella at her school's end-of-year show, is a reference to their freakishness. But the real, deep, important questions the movie raises are left frustratingly unaddressed and unanswered: how can two people who are so crazy about one another ignore the fruit of their love? When does a mother's love turn from genuine care into stifling, morbid possessiveness? At one point, the mother is trying to defend her refusal to let her son attend school by quoting Emerson and Alessandra Montessori; but it is never really clear just what it is she actually dreams for her son, other than always having him by her side. She confesses to the viewer, "I admit, I encouraged arrogance" in her son, but the boy is the only reasonable one of the pair, showing behaviour of a maturity beyond his years. All this confuses the film's audience even further. Perhaps the fact itself that the movie asks these questions is to it's credit; but it ultimately fails to deliver on it's promise.

digitalchicktv Kyra Sedgwick was amazingly creepy, which is a shame because the movie otherwise should have been thought out better. While I had no problem with the weird flashbacks into her life as a child, I did not understand the relevance of the Sandra Bullock character, who was clearly a sexual presence. If they were trying to show Kyra's character had no stable parental figures, then they should've made Sandra Bullock a warm, mommy type who disappeared or died or whatever, or they should've showed more of Sandra's character teaching Kyra's character to be sexual and discard men. What they depicted instead was a one-sided crush, which to me, is a whole nother movie.That being said, I loved watching Kyra's character lose her baby to school. I think that is a transition that could potentially cause a woman to lose her mind, if she is used to having constant interaction with her kid, which you have in the first few years-- and both Kyra and the child actor and the supporting actors nailed this portion of the film. I wish they made the movie just about this and then skipped back and maybe offered a little enlightenment onto why she has no men in her life-- a woman who loses her mind in the process and becomes homicidal. On that note, the ending seemed clearly tagged on.