Moustroll Good movie but grossly overrated

Console best movie i've ever seen.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

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

betty dalton This movie makes me feel humble and in reverence. The subject is so delicate that I feel hesitant to analyse it in the usual clinical way. Definitely not a popcornmovie nor is it a sentimental tearjerker. It is as real as it gets...The story is about a couple who have lost their child. They both struggle how to cope with the uncertainty surrounding the missing child. The father and the mother get estranged from eachother and the centre of the movie is about how both parents continue to lose their sanity over the uncertaintity of the whereabouts of their missing child.At the very end of the movie I was really touched by an almost magical encounter, which meaning you will understand if you choose to see Meadowland. Or you wont understand it, if you have a peanut as a brain. I cant reveal the ending here, because it is a spoiler. Meadowland is a real rough diamant, wrapped in breathtaking grief though, so only watch it if you are up for a lot of repressed and twisted emotions. Meadowland is dedicated to the late father of the director. At the very end of the credits, he is remembered as "...if it was yesterday they saw eachother last..." Is it the personal loss of the director's father that made this movie so heartwrenchingly beautiful? Because this movie is all about loss. And when a director has just experienced a personal loss herself there is most likely no distance at all to the emotions in this delicate story. "Meadowland" really comes across as a personal tale of grief...It is never easy to recommend a movie about the loss of a child, because I usually dont wanna get sad while watching a movie. Who does? But Meadowland easily found its way to my heart, because besides the grief there is healing to be found as well. And the healing end part of the movie struck me as an uplifting, magical experience. For that reason I do want to recommend this picture very much...

Rosalie Consiglio Those who didn't like the ending, or said it left them hanging, just didn't get it.First off, I think the movie was, most importantly, REAL. It was how real people, in the real world cope, not Hollywood people, or how Hollywood THINKS real people would. The real world is ugly, dirty, and selfish, but can also be beautiful, innocent, and full of wonder if you look at all of it and don't just focus on the negative. Its about a couple falling apart and doing things they normally would not do. With her the cutting, having sex with a stranger, smoking DMT, and listening to metal. Him, using his pull as a cop to find his meeting friend's daughter's killer's address. The loser brother-in-law whose life is a mess (doesn't everyone family have someone like this?). As for the ending, she promised to take him to Africa to see the elephants, but instead actually ends up finding him an elephant! And by doing so, she looks into the elephant's eyes and realizes that she lost her baby too. They lock eyes in mutual pain, loss, grieving, understanding. In that moment, she is able to connect with another mother who understands what it is like to lose a child. So he has his meetings, she got an elephant. What more do you want from an ending? Want to see if they let her adopt the kid? If she went back to teaching? She still is going to need a LOT of work, either years of therapy or group, an elephant can't fix broken. But anyway, who cares? That would be the boring part. May as well leave it on a high note.

whatithinkis This film is a good reminder for me to not follow film ratings alone as an indicator of quality when deciding whether or not to watch something.I'd put this in my Netflix queue and when it came and I sat down to watch I was dismayed by early occurrences. Surely I hadn't decided to order this . . . this genre . . .I visited the critiques here, was discouraged by the 5.2 rating but trusted the intelligence I encountered here in the reviews and went back and saw that, yes, this IS a good film.The editing . . . the single shot of Phil where we see for the first time, on the left side of the screen his attire and suddenly know his profession, and at the same time on the right side of the screen, reflected in the car's windshield, what is on the dashboard. In a second, an instant, we know so much more about Phil.The music is just right and enhances each mood.It's a well crafted film.It is very sad.And it is very good.

Allguns Allguns I think it would be, at least...The movie is pretty much flawless, thanks to a wonderful work of Reed Morano in her directional debut and to the writer, also a debut, Chris Rossi, that delivered that beautiful and sad story.A good director can save a shitty cast... A wonderful cast can't work with a lousy director. Don't know why i wrote that, 'cause there's nothing to do with the movie! Maybe, I was preparing my queue to say that the cast was also brilliant.Olivia Wilde, Luke Wilson, Giovanni Ribsi, John Leguizamo, Elizabeth Moss, Juno Temple... The boy... Ty Simpkins... This boy is everywhere! From blockbusters to smaller movies... Literally, he's in the biggest Box Office of the year and in the one of year's most praised movies by the critics. Still, I think he needs do more, play more parts, before he can be called a great actor.As I was saying, with that amazing cast, the movie could have at least more ten minutes. Leguizamo and Ribsi... Man I love them... They are that guys who do an awesome work in comedy... You recognize them, you recognize the signature, is good, you love it... Then, they do a drama, and you are like "How is that possible? How can they be that funny and be also so great in that drama?". It goes to Luke Wilson also. I don't think he is funny at all, but he is more then the guy in Legally Blond... And the rest of the cast... One scene with Elizabeth Moss, a great scene... One with Juno Temple, also a very good scene... BUT, after all, was a movie about Olivia's and Luke's character. The focus were in that couple that passed through grief in its on terms. Man that movie hurts sometimes.Allow me to make a comparison. We have Reed's Meadowland (2015), on the red corner, and John Cameron Mitchell's "Rabbit Hole" (2010), in the blue corner. Both movies are about a couple trying to deal with the loss of a son. Meadowland has 105 minutes, including credits, while Rabbit Hole has 91, also with credits. Still, I feel like Rabbit Hole is the longest movie that I've ever watched in my life. AND I WATCHED THE EXTENDED LORD OF THE RINGS TRILOGY IN ONE WEEKEND! Rabbit is a sad movie and most of the time you just have to look away 'cause you are sick of it! Meadowland is a completely different story. I mean, the story is very alike, still is a different story, but what I meant was that "This is not the case with 'Meadowland'".Meadowland is a sadistic voyeurism. You watch that couple "deal" with their loss, you watch'em "try" to move on, you watch'em hurt 'emselves and each other, you watch they grow apart, you watch Phil receiving alone the news about his son's death, while Sarah is f*cking the foster-father of the boy who she's obsessed with. AND TRY TO GO WITH THE KID TO AFRIKA! MAN THAT IT HEAVY STUFF... And still you're not able to blink, or even breathe sometimes through the movie, 'cause you don't want to loose anything. And it is over. You want more, but the story came to its end. You had the start, the development and the end. It came in a straight line, a clear path, but all you can think is "... man, I wouldn't mind to know a little bit more of the rest of the characters, as Tim or Alma, or Even Joe and Shannon..." But this movie is about Sarah and Phil, and in that case, mission accomplished.As an epitome, "Meadowland" has the greatest performances of from the two protagonists, and a perfect debut from the director and writer.