FIND MOVIES
Movie List
Loading ...
or
Find Theaters and Movie Times
or
Search Movies

Review: The Road

No country for all men: John Hillcoat doesn't stray from Cormac McCarthy's Road
By PETER KEOUGH  |  November 24, 2009
3.5 3.5 Stars

In one instance, pathos verges on the absurd as the man, carrying the boy on his back, hobbles after the thief (Michael Kenneth Williams) who's stumbling away with the precious shopping cart and all their belongings. This leads to one of the film's most wrenching sequences, more powerful on screen than on the page, a kind of reverse Good Samaritan parable. "We are carrying the fire," the man keeps telling his son, though he doesn't always see its light. And it is in scenes like this one that the fire burns brightest.

< prev  1  |  2  | 
  Topics: Reviews , Celebrity News, Entertainment, John Hillcoat,  More more >
| More


Most Popular
ARTICLES BY PETER KEOUGH
Share this entry with Delicious
  •   BUFFET DINING: THE 15TH BOSTON UNDERGROUND FILM FESTIVAL  |  March 19, 2013
    "Copraphagy" is a key word at this year's Boston Underground Film Festival at the Brattle.
  •   REVIEW: GINGER & ROSA  |  March 19, 2013
    Sally Potter likes to mess around with form and narrative.
  •   UNDERGROUND CINEMA: THE 12TH BOSTON TURKISH FILM FESTIVAL  |  March 12, 2013
    This year's Boston Turkish Film Festival includes works in which directors ponder the relationships between the secular and the religious, between men and women, and between destiny and identity.
  •   REVIEW: A GLIMPSE INSIDE THE MIND OF CHARLES SWAN III  |  March 12, 2013
    In Roman Coppola's sophomoric second feature (his 2001 debut CQ was promising), Charlie Sheen shows restraint as the titular asshole, a dissolute ad designer and solipsistic whiner who's mooning over the loss of his latest love.
  •   REVIEW: UPSIDE DOWN  |  March 14, 2013
    Had Ed Wood Jr. directed Fritz Lang's Metropolis , he couldn't have achieved the earnest dopiness of Juan Solanas's sci-fi allegory — nor the striking images.

 See all articles by: PETER KEOUGH