These types of films are programmed to press the emotional buttons located inside the brains of middle-aged, middle-class American women. This film is not recommended for other brains, particularly male brains. I tried this film for thirty minutes, then suffered an adverse reaction and had to press Stop. I had my fill of these growing up, on network TV, which probably caused brain damage that I have only been able to reverse by watching such movies as "Master and Commander," "Pulp Fiction," and "Kill Bill".

Yet another quintessential chick flick. I gave it a spin because I fondly remembered Sissy Spacek from other movies, and thought Marisa Tomei was not bad looking. (In this movie, her hair could provide nesting space for a family of birds.)

The New York Times gave this a rave review, which decides the question of whether I am going to subscribe to that newspaper.

It is fairly unusual for an independent film to be the victim of a misleading ad campaign, but "In The Bedroom" may be such a rarity. More than a few people I told about this film said that they were not interested because it appears to be a revenge sort of film. The guy kills the son who is dating his ex-wife and then goes on a vendetta against the rest of the family. If this is also your opinion, after watching the ads, let me just say that the ads are a little misleading. Although there are elements of revenge within the film, "In The Bedroom" is one of the best films released in 2001.

Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) are a middle-aged couple living in a small town in Massachusetts (I think). Their son, Frank, is back from college for the summer and working on his lobster boat. He also falls in love with Natalie Strout (Marisa Tomei), a divorced mom with two kids. Matt and Ruth are shaken a bit by their son's new lover, but they accept her, to a degree, when they see how much her son loves her. Richard Strout (William Mapother), the ex-husband, isn't taking too well to the break-up or the new lover and his violent tendencies increase.

"In The Bedroom", the first film directed by Todd Field (an actor who has appeared in various films, including "Eyes Wide Shut"), is a quiet, accomplished, powerful film exploring the fabric of a family's life. Field thrusts us into the story very quickly. The first scene depicts Frank and Natalie running through a field. Then we watch them at a family picnic. My point is that the relationship has already begun and they have already developed a certain amount of history. Both of her kids are already attached to Frank. This is a highly effective way of quickly and abruptly thrusting us into the story, ramping up our involvement in their lives. As we realize that these characters are already "together" that forces us to have an investment in their relationship. Field also depicts certain things in a tableau form. Brief shots of various characters sitting quietly contemplating or moving woodenly through their day, communicate far more than a highly theatrical scene of someone yelling or screaming. This method of depicting certain things, and leaving other things to our imaginations, also helps to ground the film in realism. "In The Bedroom" is a remarkably accomplished first film and makes me anticipate his next film even more.

Field's accomplished direction is further enhanced by the fine performances by his cast. Sissy Spacek creates one of the most memorable characters I have ever seen in a film. Her portrayal of Ruth, the mother, is mesmerizing. Throughout the first half of the film you get a sense of her deepening disquiet and wonder what, besides her disapproval of her son's relationship, might be lurking underneath. In the second half of the film, her anger makes itself known, but without the showy theatrics associated with many similar types of performances. For a leading role, Spacek remains quiet through many scenes, yet effectively communicates her feelings through her face and body language. I really believed she was in this marriage and Frank's mother and had a history with this family.

Tom Wilkinson, probably best remembered for his role as General Cornwallis in "The Patriot", is equally remarkable as Matt Fowler. For the first half of the film, he quietly gives in to his son at every turn, and in fact, Frank turns to him when his mother disapproves. He has a medical practice, but leaves most days at lunch, to either fish with his son, or spend some time with him. He also brings a note of jealousy to the character, indicating that perhaps Matt is jealous of his son. In the second half of the film, his character makes many changes as well, but they are also believable and compelling.

The supporting cast is equally memorable. Nick Stahl brings a refreshing sense of enthusiasm and bravery to the role of Frank. You really get a sense that Frank is in love with Natalie, cares for her kids and loves his life. As he made various decisions throughout the film, I found myself compelled to shout to him to do something different. Of course, I didn't, but the fact that I considered this proves the power of his performance. I have never really been a fan of Marisa Tomei, but her performance as Natalie is very strong and believable. Natalie is a woman that is trying to have a happy life, a strong life and an independent life. In the film, we get a sense that she has finally reached that point, except for the influence of her ex-husband. There is a scene between Natalie and Ruth that is fairly brief, but very memorable.

"In The Bedroom" is a great, memorable film containing some of the best performances of 2001.

I will watch anything starring Tom Wilkinson, and he does not disappoint here. Unfortunately almost everything else does disappoint, perhaps because this film had been praised and lauded to such a high degree that by the time I watched it, my expectations had soared to a greater level than could be met. I don't care for Sissy Spacek's grieving mother histrionics and finger-pointing, although that kind of performance is to be expected. I also don't like Marisa Tomei at all, so her presence is not much validation for this film. On the other hand, the brief performance of Nick Stahl as the ill-fated younger man in the older woman-younger man relationship seems predictive of potentially excellent performances in Stahl's future (not to mention his impressive resume to date in various productions like Man without a Face, Carnivale, and The Thin Red Line). Also the blood-curdling performance of William Mapother as the jealous ex-husband was worthwhile. Nevertheless, I still felt as though there was something missing from this film. Perhaps it was supposed to convey tension and an explosive situation boiling to the surface. Tensions DID exist before tragic consequences occurred, but after the tragedy, when the tensions did boil over, somehow nothing about this story seemed to actively capture interest.

At the end of the movie, I'd like to go up to Todd Field and ask him "What's the point?" Other than excruciating moments of silence (read, no music), this film is as slow moving as watching your average neighbor lumber down the streets. People will say that's extremely realistic but try sitting down and watch two-hour of paint dry and grass grow.

It's obvious that Field is a first time director. OK, I admit that his direction has its merits - it allows the actors time to sculpt their performances, and at times the lazy lugubrious Maine townscape suits the story fine. But this movie always seems waiting for something to happen - and seriously, nothing really did except the expected (read: unexpected).

I'm not surprised that Field's a stage director, as this film has a quaintly TV melodrama feel to it. I'm just so surprised so many people read deep messages in it. At the end of the day I don't even know exactly what message the movie's trying to convey.

On the upside, the cinematography quietly effective and the actors are right in it, but what on earth is the ending supposed to mean? That you can kill and go quietly on with your life like nothing happen?

This film is not to be watch if you're depressed. It is a thought provoking film with remarkable character studies. I saw this when it was first released and it held me spellbound. There are a couple of unexpected scenes in the picture which shock the viewer. Spacek is magnificent and should have won the Academy Award for her performance. Tom Wilkinson is equally fine and should have won also. Marisa Tomei was also Oscar nominated but she fails to give her character the depth needed to illicit sympathy for her from the audience. She is much too old to be carrying on with a 19 year old. This would be plausible but Tomei failed to grasp the part effectively. Its Spacek's and Wilkinson's picture all the way. It is a dark, moody piece with outstanding acting all the way!