Little Children

Little Children has one of the most important aspect many movies aspire to possess-a strong and compelling story, that is developed well with assistance from multi-layered characters who are brilliantly portrayed, a script that relies on subtlety instead of heavy melancholies and, an almost perfect pace. Needless to say, Kate Winslet is magnificent in her role and she fucking owns this movie-every emotion is expressed effectively whilst maintaining a certain amount of realness (as a result her character’s significantly much more than simply a tragically disillusioned housewife) the rest of the cast was equally good with the exception of Patrick Wilson, who looked slightly undetermined and out of place in this movie,where in the few parts the script allowed him to emote his performance was done halfheartedly. What’s best though, is how the stories carefully and patiently develop and eventually arrive full circle-the movie’s long running time just feels right once it all ties together at the end, although inevitably many might dispute that certain scenes that were perhaps unnecessary could’ve been edited out for a more solid outcome. Moreover, camerawork for some parts of the movie visibly evades confrontation-with reluctant shots from side or afar (for example in one particular scene where two characters converse in a car, the camera lazily remains fixated from one side-giving ample space for both characters to breath on screen undoubtedly, but there seems to be a lack of emotion going through as the camera cowardly refuses to venture into close-up shots or perhaps a different number of positions from where emotion could flow out). Thankfully the film does have a firm grip on its redeeming qualities-at certain points when the story feels as if its about to float away into sentimentality, realism decisively brings it back down and the feel-good ending is arguably quite the opposite despite having left most of those walking out the theatre with warm feelings in their hearts.A lot of Little Children's profound impact lies in the slick execution of specific moments-Kathy's (Jennifer Connelly) startling realization of her husband's affair when she reads the lingering stares that dart across the room during a casual dinner and her wordless yet utterly intense reaction,Sarah's uncontrollable excited screams when Brad scores during a football game (a moment that felt equally tragic as it was joyful),Ronnie's awkward date with a kooky,unknowing girl to mention a few.with a It’s In The Bedroom with significantly more enthusiasm and liveliness to it (Little Children has its tiny clever satires and light moments, whereas In The Bedroom felt much too serious), American Beauty without the layers of superficial glossiness and ridiculous, flimsily constructed characters-the long running time (crossing the worrisome two-hour mark) of Little Children might be infuriating to some, but I thought the neat ending,artfully complex characters and complete-feeling story did more than justify it.