We Need to Talk About Kevin (2011) Poster

We Need to Talk About Kevin (2011)

  • Rate: 7.7/10 total 16,539 votes 
  • Genre: Drama | Thriller
  • Release Date: 28 September 2011 (France)
  • Runtime: 112 min
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We Need to Talk About Kevin (2011)


We Need to Talk About Kevin 2011tt1242460.jpg poster

  • IMDb page: We Need to Talk About Kevin (2011)
  • Rate: 7.7/10 total 16,539 votes 
  • Genre: Drama | Thriller
  • Release Date: 28 September 2011 (France)
  • Runtime: 112 min
  • Filming Location: New York City, New York, USA
  • Budget: $7,000,000(estimated)
  • Gross: $1,202,296(USA)(18 March 2012)
  • Director: Lynne Ramsay
  • Stars: Tilda Swinton, John C. Reilly and Ezra Miller
  • Original Music By: Jonny Greenwood   
  • Soundtrack: Christmas Wish
  • Sound Mix: Dolby Digital
  • Plot Keyword: Author | Office Party | Small Town | Broken Arm | Father Son Relationship

Writing Credits By:

  • Lynne Ramsay (screenplay) &
  • Rory Kinnear (screenplay)
  • Lionel Shriver (novel)

Known Trivia

  • Shown with Assessment on its original UK release in selected cinemas.

Plot: Kevin's mother struggles to love her strange child, despite the increasingly vicious things he says and does as he grows up. But Kevin is just getting started, and his final act will be beyond anything anyone imagined. Full summary » |  »

Story: Eva Khatchadourian is trying to piece together her life following the "incident". Once a successful travel writer, she is forced to take whatever job comes her way, which of late is as a clerk in a travel agency. She lives a solitary life as people who know about her situation openly shun her, even to the point of violent actions toward her. She, in turn, fosters that solitary life because of the incident, the aftermath of which has turned her into a meek and scared woman. That incident involved her son Kevin Khatchadourian, who is now approaching his eighteenth birthday. Eva and Kevin have always had a troubled relationship, even when he was an infant. Whatever troubles he saw, Franklin, Eva's complacent husband, just attributed it to Kevin being a typical boy. The incident may be seen by both Kevin and Eva as his ultimate act in defiance against his mother.Written by Huggo  

FullCast & Crew

Produced By:

  • Suzanne Baron known as co-executive producer
  • Michael Corso known as co-executive producer
  • Molly Egan known as associate producer
  • Christopher Figg known as executive producer
  • Jennifer Fox known as producer
  • Simon Greenall known as co-executive producer
  • Anthony Gudas known as co-executive producer
  • Philip Herd known as associate producer
  • Paula Jalfon known as executive producer
  • Lisa Lambert known as executive producer
  • Christine Langan known as executive producer
  • Norman Merry known as executive producer
  • Andrew Orr known as executive producer
  • Lynne Ramsay known as executive producer
  • Michael Robinson known as executive producer
  • Luc Roeg known as producer
  • Robert Salerno known as producer
  • Steven Soderbergh known as executive producer
  • Tilda Swinton known as executive producer
  • Leslie Thomas known as co-executive producer
  • Robert Whitehouse known as executive producer

FullCast & Crew:

  • Tilda Swinton known as Eva Khatchadourian
  • John C. Reilly known as Franklin
  • Ezra Miller known as Kevin, Teenager
  • Jasper Newell known as Kevin, 6-8 Years
  • Rock Duer known as Kevin, Toddler
  • Ashley Gerasimovich known as Celia
  • Siobhan Fallon known as Wanda (as Siobhan Fallon Hogan)
  • Alex Manette known as Colin
  • Kenneth Franklin known as Soweto
  • Leslie Lyles known as Smash Lady
  • Paul Diomede known as Corrections Officer Al
  • Michael Campbell known as Corrections Officer
  • J. Mallory-McCree known as Prison Boy (as J. Mal McCree)
  • Mark Elliot Wilson known as Eva's Lawyer
  • James Chen known as Dr. Foulkes
  • Lauren Fox known as Dr. Goldblatt
  • Blake DeLong known as Young Suited Man #1
  • Andy Gershenzon known as Young Suited Man #2
  • Kelly Wade known as Mother of Little Girl
  • Ursula Parker known as Lucy
  • Jason Shelton known as Delivery Guy
  • Simon MacLean known as Mover
  • Erin Darke known as Young Assistant Rose
  • Annie O'Sullivan known as Waitress
  • Georgia X. Lifsher known as Checkout Girl (as Georgia Lifsher)
  • Aaron Blakely known as Concerned Man
  • Polly Adams known as Mary Woolford
  • Suzette Gunn known as Young (Crying) Mother
  • Joseph Melendez known as Waiter
  • Rebecca Dealy known as Student #1
  • Louie Rinaldi known as Student #2
  • Johnson Chong known as Student #3
  • Kimberley Drummond known as Student #4
  • Leland Alexander Wheeler known as Student #5
  • Daniel Farcher known as Student #6
  • Jennifer Kim known as Student #7
  • Caitlin Kinnunen known as Student #8
  • J.J. Kandel known as Teacher
  • Maryann Urbano known as School Mother / Teacher
  • J.J. Perez known as Mexican Janitor
  • Tah von Allmen known as Woman with Birthmark
  • Joseph Basile known as Mover (uncredited)
  • Susan-Kate Heaney known as Nanny (uncredited)
  • Francesca Murdoch known as Ballet Student (uncredited)



Supporting Department

Makeup Department:
  • Maya Hardinge known as makeup department head
  • Michelle Johnson known as hair department head
  • Julia Lallas known as key makeup artist
  • Craig Lindberg known as special makeup effects artist
  • Christopher Milone known as makeup artist
  • Cynthia O'Rourke known as makeup artist

Art Department:

  • Stephanie Abbaspour known as art production intern
  • Andrew Albanese known as set dresser
  • Jill Alexander known as property master
  • Kimberly Asa known as art department coordinator (as Kim Asa)
  • Junior Cyrus Baron known as set dresser (as Junior Baron)
  • Michael Bodt known as set dresser
  • David Brenner known as set dresser
  • Sal Corallo known as set dresser
  • Michael Cory known as assistant property master
  • Eric Dean known as graphic designer
  • Thomas A. Delillo known as set dresser (as Tom Delillo)
  • Mary Fellows known as set dresser
  • Amber Fleming-Shon known as stand-by scenic
  • Rafael Fraguada known as set dresser
  • Paul Gaily known as set dresser (as Paul S. Gaily)
  • Eugene Hitt known as set dresser
  • Jonathan Huggins known as leadman
  • Jeffrey Jones known as set dresser
  • Doro Klusmann known as on-set dresser (as Dorothea Klusmann)
  • John Knoop known as set dresser (as John W. Knoop)
  • Matthew Kowalski known as set dresser
  • Jeff Kujan known as art department intern (as Jeffrey Kujan)
  • Chuck Lin known as designer: computer virus
  • Daniel E. Mahon known as set dresser (as Daniel Mahon)
  • Lee Malecki known as buyer
  • Timothy Powers known as set dresser
  • Angelo Proscia known as set dresser
  • Al Sachs known as set dresser
  • Joe Savastano known as set dresser
  • Zach Selter known as set dresser (as Zachary Selter)
  • Stephen Siersema known as scenic artist
  • Vincent R. Smith known as set dresser
  • Malcolm Sonsire known as set dresser (as Malcolm Sonsipe)
  • John Sullivan known as set dresser
  • Nicholas Tzorzis known as set dresser
  • Arthur T. Vitello known as scenic artist
  • Andy Zuch known as set dresser




Production Companies:

  • BBC Films (presents)
  • UK Film Council (presents)
  • Footprint Investment Fund (as Footprint Investments LLP) (in association with)
  • Piccadilly Pictures (in association with)
  • Lipsync Productions (in association with)
  • Independent
  • Artina Films (in association with)
  • Rockinghorse Films (in association with)
  • Atlantic Swiss Productions (in association with)
  • Tax Credit Finance (co-executive producer)

Other Companies:

  • David Haddad  transportation equipment
  • Dolby Laboratories  sound mix
  • Fatts  post production script services
  • Gotham Sound  walkies provided by
  • Haddad's  transportation equipment
  • HireWorks  equipment rentals
  • Independent  funding
  • IndieClear  script clearance
  • Indiepay  payroll provided by
  • Lipsync Post  titles
  • Magna Films  film financing
  • PMA Production  EPK produced by
  • Sessions Payroll Management  extras payroll services
  • UK Film Council  funding
  • Zound  sound post-production


  • Alfa Films (2012) (Argentina) (theatrical)
  • Artificial Eye (2011) (UK) (theatrical)
  • E1 Films Canada (2012) (Canada) (theatrical)
  • Imagine Film Distribution (IFD) (2011) (Belgium) (theatrical)
  • Klock Worx Company, The (2011) (Japan) (theatrical)
  • Oscilloscope Pictures (2011) (USA) (theatrical)
  • Paramount Pictures (2011) (Australia) (theatrical)
  • Wild Bunch Benelux (2011) (Netherlands) (theatrical)
  • Atom Cinema (2011) (Taiwan) (all media)
  • Best Film (2011) (Poland) (all media)
  • Bolero Film (2011) (Italy) (all media)
  • Diaphana Films (2011) (France) (all media)
  • Hopscotch Productions (2011) (Australia) (all media)
  • Hopscotch Productions (2011) (New Zealand) (all media)
  • PepperView Entertainment (2011) (Portugal) (all media)
  • Praesens-Film (2011) (Switzerland) (all media)
  • Seven Films (2011) (Greece) (all media)
  • Shani Films (2011) (Israel) (all media)
  • Shooting Stars (2011) (United Arab Emirates) (all media) (Middle East)
  • Sundream Motion Pictures (2011) (Hong Kong) (all media)
  • Svensk Filmindustri (SF) (2011) (Denmark) (all media)
  • Svensk Filmindustri (SF) (2011) (Norway) (all media)
  • Svensk Filmindustri (SF) (2011) (Sweden) (all media)
  • T Cast (2011) (Korea) (all media)
  • Volga (2012) (Russia) (all media)
  • Vértigo Films (2011) (Spain) (all media)



Other Stuff

Special Effects:

  • Lip Sync Post (visual effects)
  • Rushes Post Production (visual effects)

Visual Effects by:

  • Chris Bentley known as digital lab operator
  • Simone Coco known as digital compositor
  • Neil Culley known as digital compositor
  • Stefan Drury known as head of visual effects
  • Sean Farrow known as executive visual effects supervisor
  • Noel Harmes known as digital compositor
  • Anthony Laranjo known as digital compositor
  • Lucy Tanner known as visual effects coordinator
  • Diana Vasquez known as digital lab operator

Release Date:

  • France 12 May 2011 (Cannes Film Festival) (premiere)
  • France 5 July 2011 (Paris Cinéma)
  • USA 4 September 2011 (Telluride Film Festival)
  • Canada 9 September 2011 (Toronto International Film Festival)
  • Iceland 22 September 2011 (Reykjavik Film Festival)
  • Greece 24 September 2011 (Athens Film Festival)
  • USA 24 September 2011 (Fantastic Fest)
  • France 28 September 2011
  • Switzerland 28 September 2011 (French speaking region)
  • Brazil 6 October 2011 (Rio de Janeiro International Film Festival)
  • South Korea 8 October 2011 (Pusan International Film Festival)
  • Belgium 13 October 2011 (Gent International Film Festival)
  • USA 13 October 2011 (Mill Valley Film Festival)
  • USA 14 October 2011 (Hamptons International Film Festival)
  • Mexico 15 October 2011 (Morelia International Film Festival)
  • United Arab Emirates 15 October 2011 (Abu Dhabi International Film Festival)
  • USA 17 October 2011 (Chicago International Film Festival)
  • UK 18 October 2011 (BFI London Film Festival)
  • Belgium 20 October 2011
  • Ireland 21 October 2011
  • UK 21 October 2011
  • USA 22 October 2011 (Tallgrass Film Festival)
  • Netherlands 2 November 2011 (Amsterdam Film Week)
  • Greece 3 November 2011
  • Slovenia 9 November 2011 (Ljubljana International Film Festival)
  • USA 9 November 2011 (AFI Fest)
  • Australia 17 November 2011
  • Poland 27 November 2011 (Plus Camerimage International Film Festival)
  • Netherlands 1 December 2011
  • USA 9 December 2011 (New York City, New York)
  • Israel 29 December 2011
  • Mexico 13 January 2012
  • Poland 13 January 2012
  • Russia 19 January 2012
  • USA 20 January 2012 (Los Angeles, California)
  • Brazil 27 January 2012
  • Sweden 3 February 2012 (Göteborg International Film Festival)
  • Turkey 3 February 2012
  • Hungary 9 February 2012
  • Canada 10 February 2012 (limited)
  • Panama 10 February 2012
  • Italy 17 February 2012
  • Sweden 17 February 2012
  • Hong Kong 1 March 2012
  • New Zealand 1 March 2012
  • Spain 16 March 2012
  • Norway 23 March 2012
  • Romania 23 March 2012
  • Bulgaria 30 March 2012
  • Slovenia 30 March 2012
  • Argentina 5 April 2012
  • Portugal 5 April 2012
  • Denmark 12 April 2012
  • Estonia 13 April 2012
  • Finland 20 April 2012
  • Japan 30 June 2012

MPAA: Rated R for disturbing violence and behavior, some sexuality and language



Filmography links and data courtesy of The Internet Movie Database

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Posted on March 29, 2012 by Harry in Movies | Tags: , , .


  1. Rick Cote from NH
    29 Mar 2012, 5:17 pm

    I saw this film at Telluride by the Sea (Portsmouth, NH) prior to itsgeneral release. This is not a film I would choose to see normally,based on its subject matter. However, as a festival-goer, this was whatwas offered for the late evening screening. This film is visuallystunning, and masterfully composed. You know early-on that aColumbine-style ending is inevitable, nonetheless hope that somemiracle may yet occur to avert this disaster. Swinton is absolutelymagnificent (as always) as the mother desperately trying to cope withraising a psychopathic child, but equally impressive are theperformances of the actors who portray the developmental stages ofKevin from early childhood to the brink of adulthood. What elevatesthis film is the visual and musical narrative that accompanies theinitial time-skipping introduction and then the more linear progressionof Kevin's growth to its final, terrible conclusion. Interestingly, theemotional crescendo of the film occurs not near the end when Kevincarries out his horrific violence, but rather in the middle of the filmat moments when we observe the impossibility of living a "normal"family life with a child who is incapable of feeling or expressing thehuman emotions that bind us together.

  2. Jack Mohan from Glasgow, Scotland
    29 Mar 2012, 5:17 pm

    After watching this film twice in two days I can honestly say it isamong the most affecting and gripping movies I have ever seen. The useof sound and the wonderful camera work made my hair stand on end. Ienjoyed it even more the second time as I was able to make sense of theopening scenes without straining myself, this however is not acriticism; rather it is a testament to the intellect and emotionalpower of a film where every member of cast and crew excel themselves.Sadness, joy, pain, nostalgia, elation and confusion are just afraction of the feelings this roller-coaster provokes, and theaudience's sheer awe was summed up by the 10 seconds of breathlesssilence as the screen faded into credits before an eruption of applausebroke out…….Astounding.

  3. stamper from The Netherlands
    29 Mar 2012, 5:17 pm

    We need to talk about Kevin is easily one of the most harrowing filmsI've ever seen and left me completely empty. Lynne Ramsey succeedswhere so many others dealing with a similar subject matter have failed,as she abstains from sensationalism and bloody detail. Instead shefocuses in on character and relationship development and breakdown.

    Tilda Swinton gives a truly great performance and even though the mainthread of the story is clear almost from the start, she and the rest ofthe terrific cast manage to keep the viewer glued to the screen.

    One of the most interesting facets of the film was that it showed howmuch power children can hold and execute over adults if they are giventhe opportunity.

    We need to talk about Kevin is quality from start to finish anddeserves to become a classic. I'm looking forward to seeing many morefilms by Lynne Ramsay.

  4. Framescourer from London, UK
    29 Mar 2012, 5:17 pm

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

    This is a film about a mother confronting motherhood across anoverlapping three-act structure: before Kevin's birth, with Kevin,after Kevin's crime. Tilda Swinton is a shoo-in for an Oscar nominationfor her assumption of the role, her selection of uncomprehendingthousand yard stares far removed from the opaque look favoured by manyother actors working to this level. It helps that the three Kevins whoplay 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 andover. The opening 5 minutes or so are worth more than many hours ofmediocre film making that I'm perfectly happy to sit through as ageneral rule in a cinema: the Boschian Tomatina fight, with theequivocal vision of a blissed out Eva buried in the blood red Sartrean-viscous filth is a particularly arresting opening statement (think ofthe bleaching-white flour of Morvern Callar). It's not an easy watch,although there is no sensationalism. It is, however, always poetry.9/10

  5. The_Frase from United Kingdom
    29 Mar 2012, 5:17 pm

    'We need to talk about Kevin' is a tale of guilt, grief and shame of amother (Tilda Swinton) whose son Kevin (Rock Duer, Jasper Newell andEzra Miller) has committed an atrocious massacre at his school. Basedon the acclaimed novel by Lionel Shriver (2003) and directed by LyneRamsey who has been missing from the movie horizon of recent years, apowerful and excellently constructed piece of cinema is upon us.

    The storey encompasses the mothers' outlook on life before, during andafter the event. The use of a non-linear time frame allows the film tobe constructed in such a way that to those unfamiliar with the originaltext will be led in one direction of thought as to the charactersprogression only for the film to turn on its heels and lead you inanother direction.

    The casting and acting is of paramount importance in a film where theprimary relationship between two characters forms the basis of contextfor the others. Swinton offers an excellent drawn out, confused, guiltridden mother whereas Ezra Miller as Kevin gives us an unflinching lookinto the abyss of a sociopath.

    The casting of as the father John C. Reilly for me was the only flaw,simply due to his recognisable and somewhat comical appearance, whichwhen compared to the subtlety and non-obtrusive nature of the remainingcast and extras stands out although his performance was strong.

    Ramsey's use of symbolism and carefully inserted mise en scene givesthose with a more discerning eye glimpses of the details of theemotional frailties evident in the novel but which are often so hard toconvert when any literary text makes the transformation into the mediumof film, we all know the saying 'the book was much better'. But herethe both Lynne Ramsey and Roy Kinnear develop an excellent screen playthat will satisfy both those who have read the book and those who haveyet to. The sequencing of opening shots in most scenes allows a strongsense of atmosphere to develop even before the characters have enteredthe scene or dialogue has even commenced.

    The overall impact of the film rides through peaks and troughs. Withsome sections brilliantly gripping and others making you wish away theremainder of the film. In general the film does carry a strong andunsettling momentum until the final credits. For those looking for anaction soaked gore fest will be left waiting as will those looking forthe docudrama styled film similar to Gus Van Sants' Elephant (2003).The film won't be for all or maybe even for that many, but those whoenjoy carefully layered cinema creations will be drawn to this titlelike a moth to a flame and with good reason.

  6. freemantle_uk from United Kingdom
    29 Mar 2012, 5:17 pm

    We Need to Talk About Kevin is certainly a movie that will be every parent and would-be parent’s worst nightmare. This movie gained a lot of praise at the Cannes Film Festival and attempts to explore the themes of society, parenting and psychology.Eva Khachaturian (Tilda Swinton) is a middle-aged mother hated by her community and struggling with the aftermath of a tragedy. Her sociopathic teenage son, Kevin (Ezra Miller), has committed a school massacre and she has to deal with the results of the sins of her child and explore how Kevin turned out this way in a dual narrative.After being unable to make her version of The Lovely Bones, Lynne Ramsey turned to adapting this Lionel Shriver novel instead. She delivers a haunting, slow-moving film that looks at the personal and social impact of the tragedy through one person’s eyes as well looking at the struggles of raising a troubled child. Ramsey made sure there was a grim, somber tone and kept a minimalist view of the world, yet still adds her own visual flair with intense, slow close ups and red imagery throughout the film to symbolise blood on Eva’s hands.There is a deliberately disjointed narrative throughout the movie, cutting from the present to the past as we examine Eva’s inability to bond with her son. Ramsey took the bold step to avoid showing any of the actual massacre and most violence is committed off screen. We do not need to see it to understand its impact on people. Nor did we see Kevin’s preparations for the massacre: We Need to Talk About Kevin is Eva’s story, not Kevin’s.But there is a major problem with Ramsay’s approach to the story: she seems to ignore the entire concept of nature vs. nurture. Eva being portrayed as a bad mother is outweighed by the way Kevin is shown as practically the product of Satan’s loins. Throughout the film, Kevin is always pushing his mother’s buttons and made out to be evil from the day he is born. There is no subtlety in his portrayal, even with basic things like reaction shots. We Need to Talk About Kevin should have been more ambiguous, because the whole point of the film is to raise a debate. The audience is not meant to have a clear answer.Swinton’s performance was highly praised and she is worthy of an Oscar nomination as her character Eva, who starts off both as a woman at a real low end and her struggles with a child she does not want. She is a disaster of a mum to Kevin as a young child, a child who tests her patience. Swinton was able to bring real depth to her character. When she does make the effort, the damage is already done. Throughout the movie, Swinton plays a tragic and lonely figure who is isolated in some form, a character who is a shell of her former self.Kevin is strongly played by two actors: Jasper Newell plays Kevin as a little brat, pushing his mother with his behaviour and playing Eva and his father (John C. Reilly) against each other. As a teenager, Erza Miller portrays Kevin with a sociopathic and nihilist outlook. He has a sharp mind, but enjoys inflicting pain on others, including his little sister (wonderfully played by the young Ashley Gerasimovich). He is a character who believes in nothing and takes a destructive path as a sinister air is always around him.Reilly plays Franklin as a normal suburban dad, someone who wants to do the right thing for his children. It was a wonderfully natural performance of a man who just sees Kevin’s behaviour as being typically boyish. He is very deserving of a Best Supporting Actor nod for such a believable performance.There is a permanent, chilling sense throughout the film thanks Ramsay’s low key direction and the power of the performance. This is a film that should stick in your head, but We Need to Talk About Kevin should not have been so clear-cut.

  7. Dharmendra Singh from Birmingham, England
    29 Mar 2012, 5:17 pm

    This is quite simply one of the best films of the year. Even the book'sauthor, Lionel Shriver (a woman), praises the film, calling it 'abrilliant adaptation'. That's unusual.

    Being a first-time dad, the story fascinated me. What happens if youdon't love your own child… and they know it?

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

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

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

    Eva's betterments do nothing to placate Kevin; he gets worse. Eva'sattempts to complain about Kevin 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; the film'stragic conclusion is perhaps inevitable.

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

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

    If Swinton can win an Oscar so easily for her role in 'MichaelClayton', she should be celebrating her second win now. It's one ofthose performances which needs months of detoxification andpsychoanalysis to move on from. Her acting is matched only bynew-kid-on-the-block Ezra Miller, who plays her lovelorn son. He bringsto his role a controlled ferocity we are not used to seeing. Hereminded me of Hannibal Lector.

    His portrayal works, apart from his first-class acting, because he'snot the stereotype. To look at him, you would say he was handsome andingenuous. But looks are deceptive.

    It's hard for people to be repulsed by films nowadays; even prudes arebecoming lewd. But there are scenes which will shock. So rare is it tosee this kind of film. They vanish as quickly as they appear. You mayhave missed this at the cinema, but do catch it on DVD. You'll be movedif not entertained.

  8. Lily LaLa from United States
    29 Mar 2012, 5:17 pm

    First, awesome movie. Second, I admittedly haven't read the book, andit may be more subtle than the movie. But how can anyone suggest themother was at all to blame for her son's behavior and character? It'strue she wasn't thrilled about becoming a mother, but that's true formany soon-to-be-parents (emphasis on the gender neutral parents– lookslike sexism is still alive and well in our society, especially amongstIMDb reviewers!). The difference is that for the most part, even whenthings start out rough, parents eventually form a bond with their childwhich, in part, results from a quid pro quo- parent cares for child,child is happy and/or affectionate toward parent. Here, no matter whatthe mother did, her child was either miserable or cruel toward her. Yet90% of the reviewers are suggesting it's partly her fault, if notentirely her fault. Wow. Some kind of society we live in where a mothertakes the blame for a sociopath. Notice few people blaming theoblivious, useless father!

    But, great movie, superbly acted, suspenseful throughout.

  9. Joe from United Kingdom
    29 Mar 2012, 5:17 pm

    This is a film with a tough premise especially in light of events overthe past twenty years in the US and recently in Norway. The film letsit known that this is the central act of the film so there is nothingspoiled here. Difficult to watch but you will be kept entranced.

    Tilda Swinton gives a performance as a mother (Eva) with the mostdifficult son imaginable. She can't cope with the boy who seems to beas sharp as the adults. Nothing seems to be beyond him and he is alwaysa step ahead. Eva is on her own as her loyal and loving husband doesn'tunderstand or see the truth. This all culminates to mass tragedy. Thefilm moves back and forth between the tragedy, after the tragedy, andmostly Kevin's upbringing as a toddler and then teenager.

    No CGI or anything required in this. It's quite a raw film, but thedirector uses lots of different scopes and shots to get us to feelunnerved as much as Eva has to endure. It's very well filmed and theacting from the central duo of Tilda Swinton and Ezra Miller arebrilliant. I can't think of a more frightening performance or characterthan Ezra's portrayal of "Kevin" for a long time. Terrific.

    Word of warning, some might find it a little too unsettling. However,the film and book have never masked their subject and what you see iswhat you get. A dark and well adapted film which most will keep themglued to their seat.

  10. Jenny Reviewer from Australia
    29 Mar 2012, 5:17 pm

    Loved this gripping film. Unfortunately for me, I could really relateto it. Like Eva, I am also a mother of a troubled son, who for somereason I think was just born 'difficult' and 'self-destructive'. Itsvery hard to parent such a child so I could very much empathize withEva's situation. Unfortunately society does not help in assistingparents with difficult children and most of the time they accuse you ofoverreacting. Let this film be a lesson to all allied health careworkers, in that a parent does not just imagine things! I would givethe film 9 out of 10. I really found Franklin to be irritating – somemen tend to live in denial. Eva in a way was a martyr in that sheshould have been more firmer on Kevin, she was far too ambivalent inher parenting style and Kevin knew from an early age that he could getaway with things.

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