We Need to Talk About Kevin


Action / Crime / Drama / Mystery / Thriller


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Downloaded 56,136 times
February 07, 2012 at 04:48 PM



Tilda Swinton as Eva Khatchadourian
Ezra Miller as Kevin, Teenager
John C. Reilly as Franklin
Erin Darke as Young Assistant Rose
751.83 MB
23.976 fps
1hr 52 min
P/S 3 / 56

Movie Reviews

Reviewed by Dharmendra Singh 9 / 10

Bad Mother or Evil Seed?

This is quite simply one of the best films of the year. Even the book's author, Lionel Shriver (a woman) praises the film, calling it 'a brilliant adaptation'. Being a first-time dad, the story fascinated me. What happens if you don't love your own child... and they know it?

Tilda Swinton, not normally a favourite of mine, is exceedingly good as Eva, the mum uninterested in maternity. Gravid when she least wants to be (she's career-minded), out pops Kevin, her little Damien. You know from the moment she refuses skin-to-skin things are not going to bode well.

She has no idea how to deal with a baby. Her idea of subduing him is to stand next to a pneumatic drill to drown out his relentless screaming. Kevin grows up knowing he is unloved and demonstrates this through devilish behaviour towards Eva.

Gradually Eva, if not embraces motherhood, then at least gets better at it. Perhaps this is due to her giving birth to her second child, a girl, who Kevin of course hates with a passion. Or maybe the idea of being a mum sinks in, along with the realisation that a career is not the most important thing in life.

Eva's betterments do nothing to placate Kevin: he gets worse. Eva's attempts to complain are met with ridicule by the father (John C. Reilly), who thinks she is delusional. Years of unintentional, but sometimes intentional, neglect take their toll on Kevin, and the film's tragic conclusion seems inevitable.

The origin for Kevin's behaviour has polarised audiences. Did Eva create a monster by failing to form a bond early on? Should she have sought help from professionals if she felt she wasn't coping? Or was Kevin simply a bad seed; an innately evil child who no one could have cured?

Now that I've had the chance to reflect, I think it's unfair to judge son or mother. I'd be surprised if Ramsay wanted audiences to do that. What would be the point? The film is a starkly brilliant exploration of a failed relationship and the consequences that has on a family and an entire community.

If Swinton can win an Oscar so easily for her role in 'Michael Clayton', she should be celebrating her second win now. It's one of those performances which needs months of detoxification and psychoanalysis to move on from. Her acting is matched by new-kid-on-the-block Ezra Miller, who plays her lovelorn son. He brings to his role a controlled ferocity we are not used to seeing. His portrayal works, apart from his first-class acting, because he's not the stereotype. To look at him, you would say he was handsome and ingenuous. But looks are deceptive.

It's hard for people to be repulsed by films nowadays, but there are scenes which will shock. So rare is it to see this kind of film. They vanish as quickly as they appear. I implore you to see this if you can. You'll be moved if not entertained.


Reviewed by Framescourer 5 / 10

Guilt trip

Lynne Ramsay's film is a tour de force of economy. There's not a single shot wasted. Not a moment goes by that isn't informing, telling the story, adding to the cumulative exploration of a dysfunctional mother- son relationship and its purgatorial fall-out. It's also a rather gentle film (dare I say it, a feminine film): the narrative is constantly split between past and present, the tone moving between all-pervasive paranoia, drudge and romance. The movement isn't jerky though, with regular pacing of the flashing back and forwards, meticulously edited cuts and a very clever original + co-opted soundtrack that often works in contrary motion to the tone, smoothing it out.

This is a film about a mother confronting motherhood across an overlapping three-act structure: before Kevin's birth, with Kevin, after Kevin's crime. Tilda Swinton is a shoo-in for an Oscar nomination for her assumption of the role, her selection of uncomprehending thousand yard stares far removed from the opaque look favoured by many other actors working to this level. It helps that the three Kevins who play the title role are all uniformly superb as well - hideous, sly, handsome.

It's the visuals that pulled me up and pressed me back down over and over. The opening 5 minutes or so are worth more than many hours of mediocre film making that I'm perfectly happy to sit through as a general rule in a cinema: the Boschian Tomatina fight, with the equivocal vision of a blissed out Eva buried in the blood red Sartrean- viscous filth is a particularly arresting opening statement (think of the bleaching-white flour of Morvern Callar). It's not an easy watch, although there is no sensationalism. It is, however, always poetry. 9/10

Reviewed by Rick Cote 9 / 10

extraordinary filmmaking, very disturbing

I saw this film at Telluride by the Sea (Portsmouth, NH) prior to its general release. This is not a film I would choose to see normally, based on its subject matter. However, as a festival-goer, this was what was offered for the late evening screening. This film is visually stunning, and masterfully composed. You know early-on that a Columbine-style ending is inevitable, nonetheless hope that some miracle may yet occur to avert this disaster. Swinton is absolutely magnificent (as always) as the mother desperately trying to cope with raising a psychopathic child, but equally impressive are the performances of the actors who portray the developmental stages of Kevin from early childhood to the brink of adulthood. What elevates this film is the visual and musical narrative that accompanies the initial time-skipping introduction and then the more linear progression of Kevin's growth to its final, terrible conclusion. Interestingly, the emotional crescendo of the film occurs not near the end when Kevin carries out his horrific violence, but rather in the middle of the film at moments when we observe the impossibility of living a "normal" family life with a child who is incapable of feeling or expressing the human emotions that bind us together.

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