LOS ANGELES (TheWrap.com) - Not being a primogenitor myself, we can't contend for certain either or not "What to Expect When You're Expecting" has a section about preventing your child from branch into a teen sociopath. But if it does, it's a given that Eva (Tilda Swinton) skipped it.
Eva's rambling parenting, and a ultimate effects on her disfigured son, is during a heart of "We Need to Talk About Kevin ," writer-director Lynne Ramsay's try to adjust a novel by Lionel Shriver and to make some clarity of because a normal-seeming child would unexpected snap and murder his classmates.
There's an scary timeliness to a material, given this week's occurrence during Virginia Tech, though a film eventually feels some-more exploitative and reduction meddlesome in rebellious unanswerable questions.
Ramsay and co-writer Rory Kinnear tell a story out of order, though we know early on that everything's going to finish adult badly for these characters. World traveler Eva gets swept off her feet by Franklin (John C. Reilly), finds herself pregnant, and does a rather bad pursuit of stealing her rancour toward her first-born, Kevin.
Apparently intuiting her ambivalence toward him, Kevin (played as a immature child by Jasper Newell, afterwards by Ezra Miller as a teen) lashes out in any approach possible, from refusing to be toilet-trained to vivid daggers during Eva while faking charity around Franklin.
As Kevin gets older, and Eva gives birth to a second child, things don't get any better. And while a film saves Kevin's large aroused occurrence for a finish of a movie, we see Eva become, after a fact, a aim of drive-by graffiti artists and slap-prone moms between jail visits to Kevin where conjunction speaks.
What are we to make of all this? When Gus Van Sant done his possess Columbine scrutiny with "Elephant," he knew improved than to try to puncture too deeply into a "why" of such a meaningless act of violence, instead exploring a lives of both a brutalizers and their victims, permitting a viewpoint of any to have their moment.
Ramsay vacillates between pinning a censure on Eva's stretch and suggesting that Kevin is simply a bad seed, though a psychological hearing of a characters never digs quite deep. Subsequently, when Ramsay bombards us with modifying tricks and an additional of visible style, it feels like daunt deception designed to cover adult a fact that she eventually doesn't seem to have many to contend on a subject.
I've never resented a tone before, though Ramsay's design of red goes to absurd heights. It's one thing to give us a flashback of Swinton being lonesome in tomato insides during that annual pomodoro-tossing festival in Italy, though Ramsay uses a tone in many any stage -- red chairs, red military sirens, red flashing numbers on digital alarm clocks, red lampshades -- to a border that during a commencement of any new scene, we found myself looking for a red thing, that took me right out of a film over and over again.
Swinton is one of a many constrained performers operative today, and while there's not many to this role, she during slightest avoids seeking even a dump of assembly magnetism for Eva. It's a box of a good singer simply creation do, anticipating what she can in an underwritten purpose (and a array of unflattering hairdos).
Similarly, a gifted Miller (of "Another Happy Day," as good as one of a best and least-seen American indies of new years, "Afterschool") tries to make this beast a three-dimensional chairman even when a film seems able of zero some-more than formulating a boogeyman. Newell, incidentally, is superb as good รข€" in a same approach that Evan Rachel Wood's impact in "Mildred Pierce" relies on Morgan Turner's forceful work as a younger Veda, it's Newell's power that creates a place for Miller.
"We Need to Talk About Kevin" wants so badly to tackle a huge, indefinable horror, though badly is how it does it. The victims of pointless violence, to contend zero of moviegoers, merit many better.
News referensi http://news.yahoo.com/victims-violence-deserve-better-woozy-kevin-213538899.html
