Fireflies in the Garden

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The story is about a writer Michael (Ryan Reynolds) who is about to finish his first autobiographical novel – and he has come to attend the funeral of his mother Lisa\’s (Julia Roberts) death, who has a tormenting marriage with her husband Charles (Willem Dafoe) – who is also abusive to his son Michael. The story goes back and forth with flashbacks and evolving relationship between Michael and Charles. There is a sub-plot of Michael and Lisa\’s sister Jane\’s (Emily Watson) childhood affair and Michael\’s relationship with Jane\’s son – who feels isolated. In the end – there is a get feel understanding between father and son. The movie ends there.

The movie is good, but could have had been great. Ryan Reynolds looks fantastic, but Willem Dafoe steals the show with the negative role of father. Julia Roberts fits well in her small cameo as mother. While Emily Watson is good.

The Director Dennis Lee has strong script and story line, but does not bring about the required finishing touch to the movie. The cinematography is excellent. The editing between current and flashback is very well handled. The movie was inspired from a poem (with the same name) written by Robert Frost and co-written by the Director Dennis Lee.

Those people who have suffered child abuse by their disciplinary fathers would surely identify with the characters and may have tender moments – that may make them cry.

(Fireflies in the Garden)

Son of Rambow

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\”This has been my best day of all time.\”

\”I don\’t care what you and your so-called mates say about me, but don\’t you ever, ever call my brother a scab! You know, at least he\’s there for me! At least he cares about me, which is more than I can say for you, blood brother. You\’re a two-faced fake like the rest of them and I\’m gutted it took me this long to work it out. I\’m gutted I fell for it, Will. Lawrence is better than all of you and all that lot put together and he\’s all I\’ve got, alright? He\’s all I\’ve got.\”

\”O my God, I\’ve come to say thank you for your love today. Thank you for my family and all the friends you give to me. Guard me in the dark of night, and in the morning, send your light. Amen.\”

(Son of Rambow)

Boy A

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BOY A is a film that moves the audience in ways few other films do. Part of this is the subject matter, part the solid drama of the novel by Jonathan Trigell on which Mark O\’Rowe based his brilliantly understated screenplay, part the sensitive direction by John Crowley, and in large part is the cast of remarkably fine actors who make this impossibly treacherous story credible. 

\’Boy A\’ refers to Eric Wilson (Alfie Owen) who was jailed for a crime with his friend with whom he was associated as a youth. He has been released from prison and under the guidance of his \’parole officer/adviser\’ Terry (Peter Mullan), the now young adult is renamed Jack Burridge (Andrew Garfield) to protect him from the public who still remember the heinous crime of which he was convicted: Terry warns Jack to tell no one his real identity. Jack is assigned a new family and finds new friends in this strange world outside prison walls, but he is still haunted by the crime that changed his life. How Jack relates to his first female relationship and survives the bigotry of his classmates and city folk and finds a way to hold onto life despite his childhood \’sins\’ forms the development of this story. 

While the entire cast is excellent, Andrew Garfield\’s performance as the guilt ridden needy Eric/Jack is exemplary. There are many issues this film deals with in addition to the trauma of starting life over after imprisonment, issues that are universal in nature and that probe our psyches for answers that are never easily resolved here.

(Boy A)