A Home at the End of the World Reviews
Colin Farrell wasn't as annoying as he could have been. That's the best that I can say about his performance in this nice, sincere film. He plays Bobby with a childlike innocence, and the film as a whole takes on his naivete, which isn't necessarily a bad thing because it's about characters who create their own oasis in a world that attempts to thrust them into limiting categories.
Dallas Roberts's Jonathan carries the film; his character has the most conflict and the most to gain out of the peace that the characters eventually establish, and Roberts's naturalistic performance is eminently believable. Robin Wright's work as Clare reminds me of Anne Hathaway's performance in Rachel Getting Married because it seems like an actress playing edgy and strange for the sake of edgy and strange; she's not believable in a role that doesn't work for her.
Overall, I liked A Home at the End of the World because its theme of defying social perceptions in favor of a small community - a cadre of love - charms me despite my cynical belief that such a group could never exist in real life.
"A Home at the End of the World" is a ploddingly told tale that takes thirty minutes to even get started. It might be about unorthodox family structures but that's about it. The ill-defined characters simply consist of types and cliches. We never really get to know who Clare is, even though she is a key player and Bobby is simply a dense piece of matter. Robin Wright Penn and Sissy Spacek simply deserve better than this.
Colin Farrell made me a fan for life with his performance here. I was already a fan, but he made this role something more than the words on the script. Sissy Spacek was delightful as Alice, the suburban mom with just a touch of hippie, and maybe a dash of stoner. Robin Wright Penn's Clare was the force that bound the boys together despite not being able to stick it out to the end. And Dallas Roberts's Jonathan was half a dozen of the gay boys I've dated, and more than a few that I've tricked with. Erik Smith, the 1974 Bobby, has a presence of his own, and I can see him going places, too. He did a phenomenal job, especially considering that he was working with Sissy Spacek, something of a legend.
There were parts of the movie, like when the teenage boys were pretend sleeping, but really trying to get into each other's pants, that made me squirm a bit. I'll let discretion be the better part of valor on that, but I think you catch my drift. But every scene held my attention, and it was like I was in the movie itself. It takes a strong story, great casting and acting, but it mainly takes a great director to make that happen.
I heard "Soave Sia Il Vento" from "Cosi Fan Tutte" by Mozart in the scene on the rooftop, and then in the closing credits, I noticed that Tom Hulce is the producer. Coincidence? Probably not, but nicely done anyway.
Yeah, it's hard not to love the soundtrack, but I won't go into it. There's far too much on there for me to talk about, and then I'd just be rambling. Let's just say that I'll be looking for it to buy.
It's a great movie. It made me cry. It made me laugh. I'll watch it again. And again.