A Lot or a Little?
What you will—and won't—find in this movie.
Violence & Scariness
Character killed in accident, other characters die, sad and tense scenes.
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Sex, Romance & Nudity
Explicit sexual situations and references, gay and straight.
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Very strong language.
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Drinking, Drugs & Smoking
Drugs, cigarettes, and alcohol, including drug use by child and teens.
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Parents Need to Know
Parents need to know that this movie has extremely mature material. Characters drink, smoke cigarettes and marijuana, and take LSD, including a teenager who gives his young brother LSD and a mother who smokes marijuana with her son. A character is killed in an accident, and other characters die offscreen. Characters use extremely strong language and there are explicit and graphic sexual references and situations, both heterosexual and homosexual. There are tense and sad scenes. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.
Is It Any Good?
Despite performances of great delicacy and insight, the movie dissolves into soapiness without the lyrical and meditative prose to provide context and texture. The book on which A HOME AT THE END OF THE WORLD is based is the internal musings of the four main characters. What made it work was the beauty of author Michael Cunningham's language; it is touching and illuminating, and even poetic, but that does not make a movie. What's left to put on film is the outlines of the story.
Instead of holding it together, the grounding provided by top-notch performances makes the story seem episodic and superficial by contrast and some of the cinematic touches are heavy-handed. Farrell struggles with the double handicaps of having to play a character who is a bit of a blank and doing so in a truly atrocious wig, but he manages to capture Bobby's simplicity without making him seem simple-minded. But Roberts especially is revelatory. Just the way he enters a room or holds his head shows tremendous sensitivity and insight and his every glance is filled with delicate eloquence. First-time director Michael Mayer may have put too much faith in the ability of some overused and slightly cheesy music to make his points, but Roberts gets us as close as possible to the depth of understanding in Cunningham's novel.
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Our Editors Recommend
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