Friday, March 04, 2011

RABBIT HOLE (John Cameron Mitchell, 2010)


Sure, every scene doesn’t need piano, and Aaron Eckhart does go a bit hard with the tan (there’s leathery, and then there’s just plain orange). But unlike most prestige-hampered explorations of grief, this one doesn’t get off on it. Or, it does – but in a way that feels keyed into the way grief works, the way it demonstrably feeds off itself. The dialogue is sharp, and the supporting performances, extravagantly detailed.



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