Everything Put Together (2001)
Critic Consensus: No consensus yet.
Marc Forster directs this chilling psychological drama about a young mother trying to come to terms with the loss of her first born. Angie (Radha Mitchell) and her husband Russ (Justin Louis) live a quiet suburban life. At the film's opening, Angie, along with her best friends Judith (Catherine Lloyd Burns) and Barbie (Megan Mullally), who also happen to be pregnant, gleefully discuss morning sickness and baby showers. After her textbook delivery to a healthy boy, the doctor pulls Russ aside and whispers something in his ear. Angie's worst fears are confirmed when she learns that her child suddenly died, a victim of sudden infant death syndrome. In spite of loving support from her husband and friends, Angie quickly spirals into a deep depression and begins developing morbid obsessions, such as going to morgue to examine her baby, visiting the place where her child's toys are buried, and watching children at play in the park. Shot on digital video, the film features an intense emotionally immediacy. This film was screened at the 2000 Sundance Film Festival. … More
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as Dr. Reiner
as H2O Instructor
as party videographer
as hearse driver
as Nurse A
as Nurse B
as photo clerk
as Doctor A
as Dr. Miller
as Barbie's twin
as Barbie's twin
as man in park
as storage man
as Dr. Spiegel
as Angie's Mother
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Critic Reviews for Everything Put Together
A riveting haunting chronicle of a young mother who's lost her baby (a splendid Radha Mitchell), the film lacks sharp narrative but has emotional immediacy and intensity and displays the voice of a gifted director, Marc Forster, a major talent to watch
Everything Put Together takes a couple of curious turns that you will either applaud or hiss at, depending on the type of film you are looking for.
Aims for genuine discomfort, and it hits the mark with intelligence and style.
The subject matter is queasy, but Radha Mitchell ... is pitch perfect as Angie.
Despite an evocatively dark-toned DV atmosphere, is too responsible to erupt into the kind of operatic maternal horror it keeps threatening the audience with.
[Foster] shoots this rather grim film like a pretentious horror flick.
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