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This claims, Thanks also for that your said site recounts also that this now here gave a 0.82 or 41/50 ( two hundred fortysix ( 246 ) ( ccxlvi ) of three hundred ( 300 ) ( ccc ) ) for its two thousand one ( 2,001 ) ( mmi ) flick ' ' Deep End, ' ' and for that your said site's review recounts also that Ms. T. Swinton's character deals w/MOURNING J. L.'s Darby's DEATH the way she DOES also so with DOING also so with it....
What a fantastic thriller this film turned out to be- Alfred Hitchcock would well be proud. The Deep End is unquestionably a thriller, but, in an odd way, it's also a love story. At the film's emotional center is the question of what a mother will sacrifice for her son - what lies she will tell and what blame she will accept to keep him safe. It is said that maternal love is the fiercest kind of all, and nowhere is this more apparent than in The Deep End. And, because Tilda Swinton plays the mother and McGehee and Siegel are in complete control, the result is one of the year's best thrillers. The Deep End is an exceptionally involving and intelligent thriller, and, unlike many of its commercially-driven cohorts in the genre, it does not rely overmuch on narrative twists and turns. The complexity lies more in the characters than in the plot. Using one of Hitchcock's favorite devices - the "wrong man" theme - co-writers/producers/directors Scott McGehee and David Siegel have crafted a motion picture which is good on every level.
Tilda Swinton stars as a mother who, believing her teenage son has killed his homosexual lover, hides the body. After it is discovered, Goran Visnjic comes along with evidence about the connection between her son and the corpse demanding $50,000 to stay quiet. She cannot come up with the money, and manages to win over Visnjic with a fairly impassioned plea. He cannot, however, dissuade his partner from demanding his cut of the money. This extremely effective noir thriller is based on a 1949 novel previously adapted by Max Ophüls as "The Reckless Moment". It's well executed, but gains it's real power from Swinton's performance.
Not at all compelling for what was intended to be a thriller. It will bore you to sleep. (First and only viewing - 11/28/2017)
Rediculous storyline. Blackmailer turned friendly ally! Weekend afternoon movie at best!
A mother will go to great lengths to protect her children from the atrocities of the world, and 2001's "The Deep End" compellingly explores that societal recurrence with Hitchcockian flair. The film, aloof and noirish, stars a deglamorized Tilda Swinton as Margaret Hall, an acutely average housewife turned woman in trouble after she discovers that her eighteen-year-old son, Beau (Jonathan Tucker), is having an affair with sleazy nightclub owner Darby Reese (Josh Lucas). Already afraid that her husband, always at work, won't accept Beau for who he really is, she insinuates herself into the situation (the film's opening finds her nervously approaching Darby's cobalt cool gay club) and demands that the two stop seeing each other.
But alas a mother cannot always stop what her child thinks is true love, and the very night of her attempting to tell him off is Darby meeting Beau at the family's boathouse for sex. Things come to blows, though, when Darby suggests Beau try to discreetly get money from under the noses of his parents. But like most arguments that get a little too passionate in the movies, Darby happens to take one wrong step on the property's dock and falls smack dab onto the jagged point of an anchor lurking beneath the surface of the waves. Killed instantaneously, Beau fails to mention the accident and leaves the body in its same position for the rest of the night.
The next morning, when she stumbles upon Darby's remains on the shore, Margaret assumes that Beau must have murdered his immortal suitor in some sort of twisted self-defense. Both not wanting the potential laden kid to spend the rest of his life in jail and not wanting anyone to find out about his homosexuality, she takes matters into her own hands, tying the body to the anchor and dropping it off in the middle of Lake Tahoe. The conflict is complicated, however, by the sudden appearance of a man (Goran Vinji?) who claims to have a Darby and Beau starring sex tape. To ward him off, $50,000 must be paid within a few days -- or else.
And a deceptively simple setup that is. But "The Deep End" is a neo noir just effectively sincere enough to rise sympathy out of us when things could have merely taken on the shape of convincingly structured homage. An adaptation of Elizabeth Sanxay Holding's "The Blank Wall" (1947), a novel additionally brought to the silver screen by Max Ophüls's praised "The Reckless Moment" (1949), it's an engaging cinematic examination of a mother's love and how far that said love can go before ever present danger starts to make its way onto the scene.
"The Deep End" has the makings of a hackneyed woman in trouble feature, but Swinton and Vinji?, along with thoughtful writing/directing team Scott McGehee and David Siegel, inspire compassion that makes the film's thrills come second to its many shades of desperation. Swinton is wonderful as an ordinary woman forced to be extraordinary to preserve what's left of her son's virtue, even if that forced extraordinariness makes her skirt the edges of morality one too many times. Vinji? subverts two-dimensional villainy and ultimately touches as an essentially good man in a bad business that begins to empathize with the forlorn situation of his would-be victims. And with McGehee and Siegel's commiserative screenplay and appropriately slithering direction supporting their actors, never does the film bear tone undermining false notes -- it's emotional without saccharinity, its tension as intact as our feeling for characters trapped in a seemingly ineludible labyrinth of intrigue.
Everything about "The Deep End" is just right, except for an ending that unavoidably succumbs to the melodramatic pretense so much of the movie impressively avoids. But a conclusion of deep fried triteness cannot upstage all that stands behind it -- the film is a terse balancing act tightly made urgent by its smartly placed injections of pathos.
Truly ridiculous film. Just....so bad. No thinking person would make the ridiculous moves of the main character. The "bad guy" who's really not SO bad? Not buying that either. Waste of my time, though I did give up at about the halfway mark.
Great casting...and Queen Tilda.
There's 90 minutes of my life that I will never get back. Save yourself and don't waste your time on this one.
suspense is weak. no real climax & the ending was also throw away.