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The Weight of Water (2002)
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Reviews Counted:62
Fresh:20
Rotten:42
Average Rating:5.1/10
Consensus: The story is too muddled to build any interest.
Runtime: 1 hr 53 mins
Genre: Dramas
Synopsis: Two stories unravel simultaneously in this dark and suspenseful film. The first story, set in the present day, concerns a photographer, Jean (Catherine McCormack). She is working on an article for... Two stories unravel simultaneously in this dark and suspenseful film. The first story, set in the present day, concerns a photographer, Jean (Catherine McCormack). She is working on an article for a magazine about a pair of bloody murders that happened 200 years before on the Isle of Shoals, just off the coast of New Hampshire. To get the pictures she needs she must visit the location of the murders, and so her husband, Thomas (Sean Penn), arranges a yachting trip with his brother, Rich (Josh Lucas), and Rich's girlfriend, Adaline (Elizabeth Hurley). The foursome pal around, enjoying the sea and the sun, while Adaline shamelessly seduces Thomas. Meanwhile, Jean is reliving the Isle of Shoals murders in her head, which is where the second story comes in. Maren (Sarah Polley) is a Norwegian woman who has recently immigrated to America with her husband. When her sister (Katrin Cartlidge) and sister-in-law (Vinessa Shaw) are brutally bludgeoned to death with an axe, she is the sole survivor, and thus the only one who knows the truth about what happened. THE WEIGHT OF WATER draws a parallel between these two tense episodes, as the surf swirls menacingly, foretelling imminent disaster. [More]
Starring: Elizabeth Hurley, Catherine McCormack, Sean Penn, Sarah Polley
Starring: Elizabeth Hurley, Catherine McCormack, Sean Penn, Sarah Polley, Anders W. Berthelsen, Katrin Cartlidge, Ciaran Hinds, Joshua Lucas, Vinessa Shaw, Ulrich Thomsen
Director: Kathryn Bigelow
Director: Kathryn Bigelow
Producer: Janet Yang, Joni Sighvatsson, A. Kitman Ho
Screenwriter: Alice Arlen, Christopher Kyle
Composer: David Hirschfelder
Studio: Lions Gate Films
Reviews for The Weight of Water
So murkily executed that the ending is all but indecipherable through the pea-soup.
Bigelow perfectly establishes a feel of place and time for both stories, and they're so radically different that you may find yourself shocked when 100 years flash by in a single cut.
You can feel the restlessness in the repressed emotions and unspoken passions of the characters, but exactly what they yearn for is not always clear.
Bigelow is so intent upon making a non-exploitative movie that she de-sensationalizes the film to the point where it loses all energy.
Bigelow may produce broad, middling big-budget fare when (working for) a studio...But left to her own devices, she's capable of creating fine layers of intimacy and intensity.
A very literary drama that uses two intertwined stories to explore jealousy as a dangerous little mutant that sometimes is life-threatening.
Slicked-up jazzy lit-porn: all nice-looking people in various stages of excitement in the room coming and going and talking of Michelangelo.
From the diary of Kathryn Bigelow - "Maybe this whole project was some subconscious effort to take shots at the jackasses in my life."
Makes its belated arrival sporting the bloated, pruny appearance of something that's been floating aimlessly for longer than anybody cares to remember.
No matter how deep her hurt, Jean and her insecurities make for an impoverished counterpoint to the tragedy of a woman imprisoned by history as well as by madness.
It's a 100-year old mystery that is constantly being interrupted by Elizabeth Hurley in a bathing suit.
The jarring jumps between disconnected stories and watered-down sensationalism make for a soggy experience.
The actors are splendid, especially Sarah Polley and Sean Penn, but we never feel confident that these two plots fit together, belong together, or work together.
[Bigelow] provides the standard, repressive Victorian melodrama in the old story, while the newer one is merely afloat until a storm rolls in as climax.
Flat and melancholy, a muted tale of throttled feelings that never builds emotional momentum.
It's got a good director. Good cast. Good source material. Yet it still sinks like a stone.
In the end, The Weight of Water comes to resemble the kind of soft-core twaddle you'd expect to see on Showtime's 'Red Shoe Diaries.'
There are a few wrong notes, and the ending is too enigmatic for its own good, but for a studio production the film is uncommonly intelligent and uncompromising.
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