Thomas Turgoose (This Is England) stars as David, a young boy who lives a carefree life on a coastal caravan park with his best friend Emily (Holliday Grainger). When David learns that Emily is being forced to move away, he helps her hide out in a remote cave on the beach. But as David watches the police close in on his missing friend, their innocent secret takes on a life of its own. When the real reason Emily wants to escape comes to light, David's world is shattered. Swept up in a situation out of his control, and with his feelings for his best friend growing stranger by the day, David is forced to take action.
When David discovers that his best friend Emily is being forced to leave their caravan park home, he agrees to help her to run away. But after their plan starts to unravel, secrets come to light that transform his life in ways he never imagined. . You can read more in Google, Youtube, Wiki
Stephen W (au) wrote: disturbing. fascinating. The way in which Maria is crucified on the unyielding beliefs of her church is told in chilling and compelling detail. The fixed camera underlines the rigid world view of those guiding her to adulthood and thanks to their guidance she convinces herself that her fate is to sacrifice her life for the sake of her little brother. There is some warmth and humour in the early scenes as she finds gentle affection from a boy in her school and in a car ride with her mother but from the moment she confesses the sin of telling a white lie the tension builds relentlessly as her upbringing drives her onwards to pointless sacrifice. All the while the camera keeps its unblinking gaze until the penultimate scene when her mother finally realises the enormity of what she has done and collapses with grief. Only in the very last scene, when Maria is free from torment does the camera allow itself to roam and to gaze across and upwards to the beauty of the world - a beauty which Maria was never allowed to enjoy.
Franklin M (it) wrote: a must watch movie for parents and students... simply superbb..
Raymond D (ca) wrote: Tear jerker. I balled like a 12 year old girl.
Nick C (gb) wrote: Well acted drama with a mid-film change up that was hard for me to accept. Repeat viewings might be necessary.
Nick P (es) wrote: Slow and tedious at times, yet smartly filmed and powerfully acted, In The Bedroom reveals an example of grief, revenge and anger.
Rakesh N (au) wrote: a brilliant movie about the partitioned india, very well crafted, again its all about Kamal nevertheless it possibly comes closest to a real life depection of the confused mind of the bereaved. Rani as the bengali and Kamal as the Iyengar were scintillating, shah rukh as teh pathan was convincinga and vasundhta needed some grooming
Gabriel C (nl) wrote: Probably would have worked better if it wasn't released the same year as Swayze's Ghost.
Kelly E (br) wrote: I love this movie. It is also one of my favorites. I love how these siblings do anything to stay together.
jackson m (fr) wrote: A difficult film to review, even for Bergman standards. 'The Hour of the Wolf' will most definitely not be a film for everyone's taste. If you are searching for answers, 'The Hour of the Wolf' will not provide them; the film stems from such a subjective viewpoint of Bergman demons that I believe only he obtains the key to unlocking its secrets. Besides the difficulties in explaining what Bergman is up to (the film is extremely ambiguous), the film works brilliantly as a disturbing/horrific portrait of a tormented artist. Bergman takes us deep; the depths of a tormented souls, he interplays between the conscious and the subconscious, blending the realms of reality, dreams and memories into a visual medium to the point where we, as the audience, have no idea which realm we are watching. As I previously noted, if your looking for answers do not even bother, but if your are willing to the leave the generics of logic at the door and allow yourself to become immersed in the films atmosphere and it's disconcerting images, you will be treated to a disturbing portrayal of the darkest depths of Bergman soul.The film's opening subtitles are inter-played with the audio of Bergman and his crew setting up the opening shot; like so many French directors, the film is conscious that it is a film. The opening shot consist of Alma (Ullmann) directly addressing the audience, but more importantly, she is directing Bergman; signifying this is very much a Bergman story. Alma reflects on her husbands disappearance and reveal that the films narrative will unfold through the memories that are written in her husbands diary. The artist Johan Borg (Von Sydow) and his pregnant Alma arrive arrive on the island. They initially seem extremely happy that they have now found seclusion from society. Beginning with their arrival and many other shots; Bergman deploys extremely long takes within each frame. Through this style, it seems that Bergman isn't concerned with the plot moving, but rather wants to strip each frame down to its essence to capture the emotional possibilities of each characters. This style perfectly captures the artists insomnia and personal demons, which many of the sequences focus on. One particular disturbing sequence consists of Borg revealing his tormentors through various sketches; the Bird-Man, the Insects and the Meat-Eaters. Borg also reveals the relevance of the title, 'The Hour of the Wolf' is a moment of time when most people die and most people are born. Quite a disturbing oxymoron to say the least. These sequences contain great power, as Bergman allows Borg to emerge his socially unacceptable thoughts onto a conscious level.Speaking of disturbing, Alma meets a lady that who says that she is '215' years old. She warns Alma to read Borg's diary, which she reluctantly accepts. The reading of Borg's diary recreates the images of the past. One passage consist of a blond woman that Borg loved very much, to which Bergman reveals brilliantly. Another consist of Borg physically harming a man. After the old lady, many other characters begin to reveal themselves. Judging from the old lady's comments (215), it's hard to tell if these characters actual exist, but their main function seems to be to torment Borg; signified beautifully though the puppet sequence. It's not long before we enter Borg's memories again, and this time it's not pretty. We are taken to a sequence where Borg is fishing with a little boy. The little boy continues to follow and annoy Borg until the point he kills him by bashing his head into a rock then drops the body into the ocean. The image that is projected of the boy slowly floating to the surface is one I'll keep forever.In relation to this sequence-like many others- we don't exactly know what Bergman is going for. However, if we reject the notions of attempting to figure out the obtuse, we are treated too many disturbing but always beautiful images that are projected from Bergman. While it's not his best or most accessible (as if many where), 'The Hour of the Wolf' contains a concept that many films lack; the ability to convey the depths of the subconscious, a notion that Bergman seemed to perfected.