The scheme and scope of the movie are just too darned obvious.
The Safety of Objects (2003)
Tomatometer
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Reviews Counted:72
Fresh:35
Rotten:37
Average Rating:5.9/10
Consensus: The large cast of characters and scripting are too unwieldy, and the suburban angst theme feels tired.
Runtime: 2 hrs
Genre: Dramas
Synopsis: THE SAFETY OF OBJECTS is an American suburban drama filled with subversive humour. We uncover the lives of four neighbouring families as they struggle to make honest human relationships. In doing... THE SAFETY OF OBJECTS is an American suburban drama filled with subversive humour. We uncover the lives of four neighbouring families as they struggle to make honest human relationships. In doing so the characters realise they must emerge from the isolation provided by...the safety of objects. In a desirable American suburb four families' lives become entwined. PAUL GOLD (Joshua Jackson) lies in his bedroom in a coma, nursed by his mother, ESTHER GOLD (Glenn Close), who in her role has unintentionally distanced herself from her husband and her teenage daughter, JULIE (Jessica Campbell). JIM TRAIN (Dermot Mulroney) is a lawyer who has more intimacy with his work than with his wife SUSAN (Moira Kelly), who in response chooses to settle into their new life without him. Their son JAKE is finding it hard to conceal his burgeoning relationship with his sister's doll, Tani, the twelve-inch girl he adores. ANNETTE JENNINGS (Patricia Clarkson), once Paul's lover, is in the midst of a messy divorce and is trying to keep herself together while bringing up her children, SAM and RAYANNE, on a shoestring. HELEN CHRISTIANSON (Mary Kay Place), bored by her husband and the banalities of everyday life looks for something or someone to spark her. Over the course of four days Esther enters a competition to win a car for her daughter and Jim, frustrated by his job, plays hooky to help her win; Jake throws over the Tani doll for some real friends; Annette reclaims her life when RANDY (Timothy Olyphant) enters Sam's and Helen discovers what she has at home is not something she wants to replace. -- © 2002 Renaissance Films [More]
Starring: Glenn Close, Patricia Clarkson, Dermot Mulroney, Joshua Jackson
Starring: Glenn Close, Patricia Clarkson, Dermot Mulroney, Joshua Jackson, Moira Kelly, Robert Klein, Timothy Olyphant, Jessica Campbell, Kristen Stewart, Mary Kay Place
Director: Rose Troche
Director: Rose Troche
Screenwriter: Rose Troche
Producer: Dorothy Berwin, Christine Vachon
Studio: IFC Films
Reviews for The Safety of Objects
Glenn Close leads a terrific ensemble cast in Rose Troche's haunting epic of suburban life, fueled by Barbie, Pop-Tarts and God's wicked sense of humor.
The Safety of Objects is like a hike through the swamp of despond, with ennui sticking to our shoes.
While Troche shows style and accomplishment in tackling and balancing such a complex scale, her script leaves something to be desired.
[Troche] assembles the damaged human elements of Ms. Homes's world with patience and precision, and more often than not chooses dry understatement over easy satire or obvious sentiment.
Troche transcends The Safety of Objects' inherent aura of contrivance and soap opera by creating a screen filled with real people and setting them off with shrewd structuring.
Troche's film derives its voltage from the way it burrows to find that the connections within -- and among -- families are very much alive.
The disciplined performances play against schmaltz, and the casting is inspired.
A couple of unexpected revelations in the final act pack an emotional wallop that shifts the film into the realm of old-fashioned tearjerker, but the tears are wholly earned.
A film about people who feel too much for people who don't think too much.
Presented with such confidence, such care, that we love all of the characters, even if we don't like them.
Not a complete waste of time, but it doesn't make us feel the way better dramas do, and, in the end, it lacks the qualities that would make it memorable or powerful.
The characters are unusual enough, the dialogue sharp enough, and the acting good enough that it is relatively pleasant watching these lives for a couple hours.
Thematically unoriginal but redeemed by fine performances, a sense of humor, and fluid editing.
Deserving of notice if only for a few exceptional performances and some very fine editing work and cinematography.
The film is so energetic (a plus) that its body is often ahead of its brain. Still, the movie isn't so sappy that we're forced to resist it.
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