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Critics Consensus: It's often painful to watch, but Rabbit Hole's finely written script and convincing performances make it worth the effort.
Critic Consensus: It's often painful to watch, but Rabbit Hole's finely written script and convincing performances make it worth the effort.
All Critics (195) | Top Critics (48) | Fresh (169) | Rotten (26) | DVD (2)
The problem with 'Rabbit Hole' is that it plays at one unrelentingly gloomy frequency: occasional moments of humour or tension are simply unable to puncture the overriding sense of oppressive sadness.
For all its sympathy and intelligence, Rabbit Hole is ultimately too safe an experience for such a free-form tragedy.
Rabbit Hole, directed with grace and surprising humor by John Cameron Mitchell, is a delicate tale that shares a great deal of the hurt of Robert Redford's Ordinary People.
As heavy, stressful, relentlessly sad dramas go, this one goes quite well.
John Cameron Mitchell directed, making an impressive detour in style and subject matter after his flamboyant Shortbus and Hedwig and the Angry Inch.
A tough, raw drama about wounds that heal only gradually, if at all.
A smartly written, subtle, and at times genuinely uplifting exploration into the effects of grief and profound loss upon individuals, partners and entire families.
It's not an easy ride but, as far as difficult rides go, this is worth taking and holding on for dear life.
An impressively crafted, highly emotive and competent piece of cinema, bolstered by stand-out performances from Kidman and Eckhart.
There is no right way to navigate this foreign country, no magic incantation to find release. The only way out is through. This film beautifully and heart-shatteringly demonstrates that fact.
Though it plateaus emotionally for much of the time, Rabbit Hole is an engaging and heartfelt drama.
Mitchell is a filmmaker who seems to genuinely like people, a far rarer bird than you'd imagine.
John Cameron Mitchell tells with great sensibility this delicate and painfully sad story that could have been made too depressive and hard to watch by a heavy-handed filmmaker, while the performances are outstanding, especially from Kidman and Wiest.
Super Reviewer
Most movies of plays are just filmed versions of the plays, but playwright David Lindsay-Abaire actually uses the medium of film to create atmosphere, momentum, and chemistry. The play is a lot of TELL - and rather good, imagistic TELL; it won a freakin' Pulitzer - but in this adaptation, we get to see all the SHOW: Becca and Jason's acquaintanceship evolving throughout the movie (instead of just in the penultimate scene in the original script), Becca punching out a random mom at the grocery store, Becca breaking down at seeing Jason going to Prom. Nicole Kidman deserved her Oscar nod. Her posture is stooped, her eyes are bored but darty, and she gets so close to crying but never does (until the end). Miles Teller (who plays cute and dorky Willard in the new Footloose) is wonderful as the repentant teenager. In disagreement with Flixster reviewer, Jim Hunter, I was rather impressed with Aaron Eckhart's emotional outburst. He didn't seem so much angry as heartbroken and at the end of his rope. However, upon second viewing, I find the movie much sadder than the play, which DLA explicitly said not to do in his script notes. The music is sad and mellow and the shots of Becca's day-to-day life overdramatize her dazed emptiness. Izzy, the fuck-up sister, is also under-utilized whereas she provides much necessary comic relief in the play.
A promising premise, but in all a film that's - sorry - kind of boring. There's plenty of pain and struggle, but little intrigue as this couple makes it way toward normal after the death of their son. I don't really understand why, other than her being Nicole Kidman, the Academy nominated Nicole Kidman for Best Actress in this film. And to do so at the cost of ignoring Aaron Eckhart in the Best Actor category seems particularly absurd. The steam seems to go out of this one when the subplots start to pay out, around the two-thirds mark, but stick with it for the ending, it's one of several powerful moments you'll find here. A good movie, but one that would have been better had it not insisted on being even this long - a 75-minute version with fewer side characters might have struck an even stronger chord.
Good movie about a couple dealing with the death of their son. It's slow moving, and I don't think for everyone, but acting is good and I enjoyed it. I think once was enough though, not one to watch over and over.
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