Jumping between savage satire and cloying after-school specials, this shifty picture suffers right from the first false moments.
The Event (2003)
Tomatometer
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Reviews Counted:47
Fresh:20
Rotten:27
Average Rating:5.2/10
Rated: R [See Full Rating] for sexual content, language and some drug use
Runtime: 1 hr 52 mins
Genre: Dramas
Theatrical Release:Oct 3, 2003 Limited
Synopsis: In the mid- to late 1980s, films such as AN EARLY FROST, PARTING GLANCES, and LONGTIME COMPANION began examining the growing AIDS crisis. Thom Fitzgerald's moving THE EVENT shows that AIDS is still... In the mid- to late 1980s, films such as AN EARLY FROST, PARTING GLANCES, and LONGTIME COMPANION began examining the growing AIDS crisis. Thom Fitzgerald's moving THE EVENT shows that AIDS is still a major epidemic that is misunderstood by much of the public. The movie opens with the death of Matt Shapiro (Don McKellar), who was suffering with the disease. An assistant DA, Nick DeVivo (Parker Posey), believes that his death may have been the result of assisted suicide, which is against the law, so she questions Matt's friends and family to get to the truth--without considering the emotional impact her investigation might have on the people involved. With THE EVENT, Fitzgerald has made more than just an AIDS film; he has delved into the very nature of death and choice. Olympia Dukakis is outstanding as Lila, Matt's mother, who first has to come to terms with her son's illness and then his death. Sarah Polley and Joanna P. Adler are excellent as Matt's sisters, who have very different feelings about his demise. The film was shot on location in Chelsea in New York City and includes an emotional scene on the Staten Island Ferry, with the Statue of Liberty in the background, as Lila tosses Matt's ashes into the ocean. Although the film is set in recent years, it has a 1980s look to it, harkening back to the days of the first AIDS-related films when the disease just started to become recognized by the society at large. [More]
Starring: Olympia Dukakis, Parker Posey, Sarah Polley, Don McKellar
Starring: Olympia Dukakis, Parker Posey, Sarah Polley, Don McKellar, Jane Leeves, Brent Carver, Cynthia Preston, Richard Latessa, Joanna P. Adler
Director: Thom Fitzgerald
Director: Thom Fitzgerald
Screenwriter: Thom Fitzgerald, Steven Hillyer, Tim Marback
Producer: Bryan Hofbauer
Composer: Christopher Beck
Studio: ThinkFilm
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Reviews for The Event
Plays like a cross between Longtime Companion and the worst-ever episode of Law & Order.
To make a movie in 2003, one that centers around AIDS but ignores the epidemic's current culprit, Africa, and toys melodramatically with scenarios steeped in the filmmakers' selfish nostalgia without any real point, is to ask us not to think at all.
The mother-son relationship between Dukakis and McKellar is both believable and very moving.
The intricate structure of the movie is well handled but its world is a stifling capsule. Dukakis is in a zone!
Aggressively drab and granular, the movie feels like a late-'80s AIDS passion play given an ill-fitting post-Sept. 11 makeover.
The Event is an AIDS drama featuring Olympia Dukakis in a stirring performance.
The conversation about euthanasia is a good one to have, no argument here, so go have it instead.
[Deals] with extremely serious themes in a frank, honest and often humorous way.
The performances of Olympia Dukakis as Matt's mother and Sarah Polley as his sister elevate The Event from melodramatic claptrap to sensitive drama.
The Event's greatest strength is the quiet way in which it depicts the ravages of the virus.
Most of the characters have no real life beyond representing various viewpoints.
Parker Posey and Olympia Dukakis lend their talents to an AIDS suicide film – it has its moments, but the death rattle comes from the genre, not from the central character.
Dukakis has never been better and once again Fitzgerald proves himself to be a filmmaker of unfailing sensitivity, capable of transforming what could have been distastefully flip or overly lachrymose into something humorous but deeply heartfelt.
Shot on crummy DV and told via flashbacks, the film largely plays out like a Reagan-era Citizen Kane.
Performances don't benefit from the picture's uncertain tone, which wavers between quasi-hardboiled 'black' comedy and guilt-tripping sentimentality.
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