Great cast. Ok acting. Terrible dialog. Predictable script. My Ratings 10 - I love it, regardless of quality 9 - Very good, might not love but very well done or might love, forgiving some issues 8 - Very enjoyable or Just OK for me but well done 7 - Good 6 - Watchable despite not liking the film/show 5 - Mid 3-4 - Not great, but got through it 1-2 - Very bad/You might be a communist if you like this garbage

If you want a film to make you feel something—**really** feel something—then this is the one. I don't want to oversell it, but this is the kind of film that just makes you sit and think about life, even if it's been a long time since you last did. It's like a psychic workout that leaves you feeling pleasantly spent. Whatever imperfections, if a film can do that, it's fucking special. I was antsy on a double-shot of espresso at 11PM when I started this, and the first few minutes I wasn't sure if my ADHD spike of inattentive strive for stimulus would allow me to sit and watch a slow build and do it justice without my mind wandering. That turned out to be an empty concern. This film hits you across the face, lifts you up to the sky, and drops you in the first 20 minutes. It's beautiful, and it's just setting things up. And it is **so good** at setting things up. It has a cyclical timeline, but it's not trying to confuse you, and I found it easy to follow. The fresh wounds on Brendan Fraiser's face help you keep track. But I still found myself pleasantly having 'aha!' moments right before the return to the present. With that said, it is an emotionally demanding watch, and has its share of brutality, but it's the good kind of emotional ringer, and will likely have you tearing up or outright crying depending on your threshold. I sniffed a little. I won't spoil anything, but there is a fairly satisfying apotheosis in the ending. It's not "happy" but it's not going to be like _Requiem for a Dream_. I loved Vanilla Sky when it came out, and this has a similar feel to that mixed with _Closer_ (2004). ####The Performances This is easily Sarah's best role from what I've seen of her catalogue, and I have no idea why this film got such tepid ratings and seems to be entirely forgotten. I think I finally realized what makes her performances stand out from a lot of other actors. It feels more genuine to me. Her character goes through some extremely traumatic events, and the hopless despair, grunching sobbing, and the subtle, cleaned coping reactions that follow all ground the scenes despite the high drama of the events. She really should have gotten a best actress nomination for this. All the leads are in top form, and it was especially great to watch SMG across from Brendan Fraiser and Kevin Bacon. Both are great, but I **really** loved Kevin Bacon's character in this despite not coming in until the second half. I also really liked the score and score songs (music direction). While it could be said to be a bit safe and treacly with its emotional highs, I feel it was entirely earned. --- `etc.` `John Bernthal is playing so far against type from what I'm used to that it makes me respect him more as an actor... and made me want to slap the blood out of his character's face. I've never punched someone in the face in my life (intentionally, at least--outside of sparring), but I never could have made it in Hollywood without decking a few people.`

A violent way to coincide.