User Reviews

I found out about this movie only when Nicole Kidman received awards nominations for her performance. When I found out that its sad story is about a mother who lost her son, I felt I did not want to watch another one of these somber family dramas. However, today I had a little window of time, and this film was only an hour and a half long, so I finally relented and gave it a chance.

"Rabbit Hole" tells about how a modern young couple, Becca and Howie, was dealing with the death of their very young son, about eight months after the boy got accidentally run over by a car. The drama intensifies as Becca's immature younger sister gets pregnant and healing wounds are disturbed again. What's more, Becca strikes an awkward "friendship" with the teenager who drove the car that killed her son.

Nicole Kidman is getting all the acting notices as Becca. Not meaning to put her down, Nicole was very good, but I felt that this performance was already very familiar. I felt that Aaron Eckhart did even better to essay his role as the bereaved father Howie. I think there is a bigger challenge for a male to connect and project the proper emotion in stories like this, and Eckhart delivers. I do not know how she does it, but Ms. Dianne Wiest never fails to exude warmth in her roles. Here she plays Becca's mom who also lost a son, albeit already 30 year old. She is luminescent in her few scenes, best of which was the one in the bowling alley and another one in the basement.

To its credit, the screenplay was compelling despite the subject matter. The gamut of emotions as could be expected from a situation like this were all there, from grief and anger, to frustration and cynicism. There were some moments of humor in it as well to lighten the mood a bit, especially scenes with Sandra Oh as a woman already eight years in group therapy. Contrary to my initial impressions, it did not feel boring at all. But again, the sad depressing topic may not really make it so popular for the general public.

I was attracted to see this film because of the subject matter. The angst parents face on the sudden loss of a child is unfathomable, & I liked Nicole Kidman's previous work. Yet I had difficulty connecting with this film at an emotional level. Kidman's performance is stellar, as we have come to expect. But why cast Aaron Eckhart? I found his performance missed the mark. In particular, the scenes where he explodes in anger at Becca (Kidman)aren't convincing nor predictable. The rest of the cast delivered convincing roles, particularly Sandra Oh. I also found the cinematography granular and many of the outdoor scenes looked like they were shot on set. The film was, in fact, shot in Yonkers, but some of these scenes may have been added in post-production? I also found Kidman's wardrobe problematic. Ultimately, Rabbit Hole offers a strong acting performance by Kidman yet doesn't deliver on a number of levels.

David Lindsey–Abaire as screenwriter for this film, based on his own play, really gets into the head and the emotions of two grieving parents 8 months after the death of their five year old son who died running after his beloved dog. We never meet Danny and barely see a picture of him but we come to clearly understand the relentless pain in all it's forms which his parents Becca (Nicole Kidman) and Howie (Aaron Eckhart) are feeling. Each of them are grieving in his and her own way which despite sharing this most personal tragedy and a good previous relationship, there seems to be no room for empathy between them. Becca's quest to find some way to deal with her deep dark feelings leads her to establish a relationship with Jason (Miles Teller), the 18 year old high school senior who swerved his car, which he confesses to her may have been going a mile or two over the speed limit, which led to the tragedy and now has created a bond between them. Becca's somewhat religious mother (Diane Wiest) whose son died at age 31, eleven years previously, provides a counterpoint from where she is coming. Nicole Kidman who saw the original play and started the ball rolling to make it into a movie chose John Cameron Mitchell to direct it. Mitchell and Lindsey Abaire who were guests at our screening acknowledged that they complemented each other as they explored the fine points of this film. The director, who had only a 4 million dollar budget, shared with us that he let the actors steep themselves into their emotional roles which he appeared to nimbly direct as well as spending a great deal of time in editing the fine points. He gave a touch of humor to a primarily a dark movie and kept us the audience observing at a slight distance from the unimaginable tragedy. We did not shed a tear for the young boy who we did not meet or really know. As mental health professionals who have worked with many grieving patients, we had the feeling that we were empathizing with people we cared about, as we might with a patient who is involved in their own dynamics that are unfolding before us at somewhat rapid pace. The fact that the writer, director and the actors really nailed the complicated feelings and interactions without ripping apart the guts of the audience (which they could have easily done) may be judged a shortcoming of the movie by some or the height of sophistication by others.

This movie also merits comparison with four other movies which we have seen in the past year and each of which shows attempts at dealing with grief in a different manner. A Single Man shows Colin Firth in an Oscar nominated performance as George a college professor whose lover has died in an auto accident and in his grief he is on the verge of suicide when he meets a young student who cares about him. Robin Williams does an excellent job as an unsuccessful writer in World's Greatest Dad grieving a teenage son who committed suicide. The father pretends his late son has written the story of being bullied and the result is a game changer for the community and for the dad which gives some meaning to this tragic loss. The Lovely Bones deals with the murder of a young teenager (Saoirse Ronan) who had just begun to feel the glimmers of romance which leads the audience to feel her parent's unresolved grief despite the youngsters ethereal existence. There is a small amount of compensation as the killer is caught through the efforts of the girl's sister. The film, which most closely resembles the Rabbit Hole, is The Greatest which brought together a comparable great performance by Pierce Brosman and Susan Sarandon who are the grieving parents of a teenager killed in car accident while he is with his girl friend played by Carey Mulligan. The potential for the parents to live with their grief is the unborn child being carried by the young girl friend whereas in the film which we reviewed today, the hope for a better future is only hinted by a subtle but important gesture at it's conclusion. We thought these two were both excellent films The Greatest didn't achieve the critic's Oscar acclaim and it appears that the Rabbit Hole may get some such bids. However overall, we rated the Rabbit Hole a notch lower. We certainly do believe that this movie is the finest example and should be used as a teaching tool and stimulus for discussion for those who are studying the grieving process as well as a movie worth seeing for anyone interested in these all too real human emotions.FilmRap.net

Producer Nicole Kidman's dream project (according to a 12/10/10 "New York Times" article) comes to the screen as an investigation of how people grieve, don't grieve, and (hopefully) heal.

As a cost-cutting measure, this digitally shot (Red) film centers on a couple who lost their son when a young driver swerves to avoid the dog the four year chased into the street.

Eight months later, the grieving couple struggles within different grief Universes. The husband, more inclined to move on and feel the pain; the wife stuck in anger and bewilderment.

Comparisons to "A Single Man" are in order. "Rabbit Hole" is as morose, yet affords a peek at the possibility of sharing grief compared to solitary, internal expression.

The couple attends a grief support group whose mourners represent different aspects of grief: Bible thumpers thanking God for making another angel; grief junkie eight year veterans who offer an unappealing vision of the couple's future.

Add a terrific performance by Dianne Weist as Kidman's mother, she who lost her junkie son, and Kidman's brother, age 30.

Kidman's n'er do well sister spices up the drama when she becomes pregnant.

There is palpable tension in every frame until the couple comes to loggerheads over sex and the husband's desire to have another child. Both wishes vehemently denied by the wife.

"Rabbit Hole" is the name of a comic book about parallel Universes, alternate outcomes. The comic is conceived by the young driver Kidman literally stalks in a desperate attempt to find answers to the tragedy. An emotional (non-sexual) triangle forms between husband and wife with the driver at the apex.

The drama peaks when the husband seeks sex (but doesn't physicalize) with a woman (Sandra Oh) from the support group. She too is hungry as spouse abandoned her. Simultaneously, the wife surreptitiously watches the driver leave for the Prom. She's awakened by the driver after spending the night camped in front of his home.

After threading these personal labyrinths, the couple reunites. There is no happy love-conquers-all ending here. Just the vaguest hint of promise as the wife takes the husband's hand.

The slow pace may bore some, as might the delicate subtlety and requirement to pay close attention. Every word, action and look has meaning and moves the story. It is a slow build to a low plateau, but, given the circumstances, it's quite a step for this sad, confused and angry couple. Real healing has a glimmer of a beginning.

Aaron Eckart is a bit out of his depth here. His forced performance drags the proceedings down a notch, and he doesn't hold attention in scenes with Kidman who has done better work ("Dogville").

Miles Teller as the driver seems to have taken a fistful of Xanax before each scene, or Spock popped in from some Universe and hit him with phaser set to stun. He is ineffective in this pivotal role.

"Rabbit Hole" exists on the border of subtlety and the hypnagogic. The drift between them causes the well-intentioned film to go down a bit hard. There's also a staginess from the play that pops up here and there. So be it.

Be prepared: the servings are cut a bit fine. It's a film one says of, "why isn't this better, given the (mostly good) cast and material?" Too much stage, not enough screen. Theoretically, alternative Universes have modulation, similarities and vast differences. Unfortunately, only one Universe exists here. Its name is boring.

Though I like movies that involve catchy and opportune timely dialogue with "all the answers," in reality, hardly anyone has all the right answers at the right times. Rabbit Hole is certainly the movie to prove that.

Unfortunately, it's the typical "Oscar-bait" film, released immediately before the end of the year to be considered. I will agree with it being nominated for best actress for Kidman in a powerful role of a powerless woman. Her performance was amazing because it was so real and contained zero clichés of a woman mourning the recent death of her infant son.

For Aaron Eckhart, whom I've admired for many years since In the Company of Men, could get nominated and he was good…but let's face it, he walked solely in Kidman's shadow and his was, in fact, a tad bit more clichéd. The stand out and scene-stealer, was newcomer Miles Teller as Jason – the mysterious boy, Jason, who Kidman's character, Becca, follows around in her spare time. I doubt he'll be nominated, but I would write him in, if I were part of the Academy. He was very good in his few scenes.

The remaining cast, including the always lovely Sandra Oh, and the movie itself was pretty decent, but nothing you can't see on that Oprah channel. In fact, like The Devil Wears Prada, I'm surprised this was released in the theatres.

At any rate, as mentioned, this is a story of two parents coping with the loss of their young son who followed their dog into the street and was struck down by a car. For those squeamish of seeing a young child die, even in a fictional film, mercifully, this movie shows very little of that scene and only in flashbacks.

As the couple goes to group and attempts to continue on with their lives, Becca does, coincidentally finds the teenager, Jason and follows him a few days which leads to an unexpected meeting and eventual friendship.

The movie is shot as real life, though not like a reality show or film, and the writer was clever enough to put comedic moments in at the right moment to relieve some of the tension. It should be scene for anyone who needs help with the grieving process but mostly for an award-deserving role from Kidman.

A little Oscar baity - you just know Nicole Kidman purchased the rights to the play because she knew it would get her an Oscar nomination - but it is undeniably moving. Kidman and Aaron Eckhart play two grieving parents who lost their son to an auto accident eight months before the film opens. The two deal with their grief in different ways, and it's beginning to tear their relationship apart. Dianne Wiest plays Kidman's less sophisticated mother (she seems to be more from a blue collar background, which Kidman seems to have left behind), who also lost her son, albeit to heroin addiction when he was 30 (Kidman despises when her mother compares the two losses). Tammy Blanchard plays Kidman's younger sister, who tells her near the open of the film that she is pregnant. Sandra Oh plays another grieving parent, with whom Eckhart connects. The last major role belongs to Miles Teller, who plays the teen who hit the couple's son. Kidman surprisingly connects with the boy (at first I thought that he just reminded her of her dead son, which I believe was an intentional mislead). All the actors are excellent. Yeah, Kidman may have bought it because she knew it would get her a nomination, and I would guess nine actresses out of ten could have garnered a nomination from the role (it's just too well written not to attract Academy attention), but that doesn't take too much away from her achievement. Wiest would be an obvious second nomination (most certainly deserved), but the Academy should not overlook Eckhart, who gives his best performance to date. I have said nothing of John Cameron Mitchell, whose previous two films, Hedwig and the Angry Inch and Shortbus, are among my favorite of the previous decade. He doesn't show his hand here at all. Indeed, it's definitely a director-for-hire type of job. But he is very subtle, so there's at least that.

Rabbit Hole absolutely moved me. They don't make emotionally charged films like this anymore so I was delighted when I discovered it. And as someone who as experienced loss similar to the one in the film, I completely related to both Kidman and Eckhart's characters Becca and Howie. Even though the two characters reacted to loss differently, while watching them I thought "I've been in both places".

I was so impressed with Nicole Kidman and her ability to give such beautiful, understated yet fierce performance. She completely consumed her character which is such a treat to watch. We see the film through her eyes mostly. A woman who can't leave her house but at the same time trying to erase any memory of her past in the house. I completely connected to this woman.

It may seem strange to say but Becca is very funny at times. The way she snaps at her overbearing mother is sprinkled with humor. And when we lose someone, it isn't all "doom and gloom" so I really enjoyed the humorous moments. Aaron Eckhart was also on top of his game, this is a side of him I've never seen before in his other films: sensitive and emotionally open. Of course Dianne Wiest is great as usual!

I can't think of any other film that has shown loss and grief in such a realistic and true way. Maybe Ordinary People, but this film is quieter, less showy. It really touched me. I laughed, I cried and I reflected on my own life. I hope everyone that has lost someone close to them sees this film because I know it will help them in some way. To see "myself" up there on the screen made me feel like I wasn't alone. Rabbit Hole is an uplifting piece of art. It'll truly give you hope.

John Cameron Mitchell's film version of David Lindsay-Abaire's award winning film is the very definition of Oscar Bait. It's a film that was designed to get Nicole Kidman another Oscar.

The film follows a couple in the wake of the death of their four year old son. She is trying to cope by erasing any trace of him. He's fumbling about just trying to connect with his wife who seems to be a stranger. Complications arise as her sister reveals that she is pregnant. She also begins a relationship with the young man who killed her son.

Strong on performances the film doesn't have much beyond that. Director John Cameron Mitchell's direction is workman like but isn't all that creative. the film feels like any number of small budget independent films. While this isn't surprising considering that Mitchell turned out two good small films (Hedwig and the Angry Inch and Shortbus) previously. Unfortunately while those films, like this one were good, there was nothing to set them apart from any other independent film except perhaps the subject matter or stars.

This isn't a bad film, but its very much like any number of other better films and other than the big stars and Oscar push this film would rightly fall into the cracks. I'm guessing that once award season is over this film will quickly disappear, especially if it doesn't win any Oscars.

Worth a look, but not something you need run out to see.