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"A Map of the World" is easily one of the most honest films I've ever seen. The merits go specially to a very fine cast and a clever, well written screenplay. Sigourney Weaver really shines here, in an Oscar caliber performance, as Alice Goodwin, a woman who is not afraid to show what she is feeling. She is married, has two young girls, lives in a farm and works at a school nursery. Her life seems calm, but happy, until a terrible accident happens, followed by a sad mistake, and her life falls apart.

"A Map of the World" had everything to be a bland and conventional film, but it is not. I have to say that I don't give any merit to the direction- this is indeed the main problem. The director doesn't captivate the audience, and doesn't seem to care about that. There are many slow moments and scenes that could have been cut. But "A Map of the World" is a rarity- a very good film with mediocre directing. Who is the miracle maker? Sigourney Weaver, surely. She shows passion for acting and an incredible strength as Alice Goodwin. I can't imagine anyone else playing Alice, because Sigourney is perfect building her character. The Oscar was gone, but I put Weaver on my list of snubbed stars this year. But she doesn't work alone- Julianne Moore is here, and when she is in you can expect much. I'm a fan of Ms. Moore since I've seen her in "Short Cuts", and now that I've seen "Magnolia" (if you've read some of my reviews you know how much I praise "Magnolia") I'm starting to adore this lady. She shines even in slapstick comedies as "Nine Months"... There's nothing she can't do!

Getting back to "A Map of the World", I have to say that I appreciated very much its screenplay. It was written with strength, trying to escape of the clichés even in courtroom scenes. There are many beautiful messages the film has to pass and it should be admired for this. It shows that everyone commits mistakes, more than one time, and that is why we are ordinary people, with qualities and flaws. We should learn with ourselves and with the others. We should believe in ourselves and try to cope with our mistakes. The film has messages like these to learn, and many others, resulting in a complex study of people in conflict.

I truly recommend "A Map of the World", despite its flaws. Watch it for Sigourney, Julianne and the messages and forget the weak directing. It is a worth seeing.

This film could terrify some. It is certainly gripping, but it's carried by superb performances by Sigourney Weaver and Julianne Moore. The only film I can think of that is quite as moving is another Sigourney Weaver film, Death and the Maiden.

The tone of the two is very similar, but there is more hope in this outing. It still isn't something for the kids. But if you love acting, if you love to see real emotions rather than concocted attempts to feel, then watch it. And remember to keep your own Map of the World.

This is a tough task. I want to explain why this film is very worthy of a viewing, without giving any spoilers away. It's not the most incredible film ever made, but it's so much better than many films made in 1999. It's beauty is organic, in that from a good story/novel comes a very finely honed and skilled script. A story that manages the odd laugh in some very dark situations. A script that gives us the kitchen sink drama of folk attempting the American dream, the tense drama that sometimes has you wondering whether you like that person you loved a minute ago, and some very normal, human days. Then you take the immensely talented Sigourney Weaver, David Strathairn, and Julianne Moore (along with other mentionables such as Richard McMillan and Aunjanue Ellis) to deliver the dialogue, and we already have something worth watching.

I could attempt to interpret it, and tell you what it's all about, what it all 'means' but, in essence it's a story about some people dealing with some extraordinary events in their ordinary lives. What we learn, or take away from it is down to the individual watching.

The direction, and photography is flawless, with some subtle colour themes running throughout the movie. Greys and pale blues, set with rust and bright orange as the story progresses; fields and concrete, hope and despair. The story is linear, but very rarely the camera cunningly takes us to different times and places. The soundtrack is just fine, and while it, and the film sometimes verge on being a little saccharine (which it manages to avoid in the main), what we see here are some very talented people making a good solid film.

A lot of the time what you think is about to happen next, often does. But be ready for a couple of surprises, and even if what happens next is what you suspected would occur, just watch some people acting their socks off!

I only found this film because the DVD was on sale for half a dollar, and bought it purely on the strength of Sigourney Weaver and Julianne Moore, who have never let me down. They are a couple of the best actors of their generation - I only have to point you to Snowcake, The Hours, or Magnolia for solid proof of that. Apart from their obvious acting abilities, I particularly applaud their lack of vanity, and dedication to getting things right.

If you think you're into good film, and want to see all of them before you die, then you really should watch this one.

Here's yet another nod to composer, arranger and musician/performer Pat Metheny (sans the Group, as was incorrectly identified in another review). On this soundtrack, Metheny is accompanied by an unidentified chamber orchestra (percussion, violin, harp, flute, viola, cello, horn, bass, clarinet and the talented Gil Goldstein on organ).

Mostly variations on the title track, these melodic interpretations are quite eloquent (as one would come to expect from both Metheny & PMG), but arranged such that they never overtake the scene in which they are scored. Metheny contributes his own brilliant lead acoustic guitars, as well as piano and keyboards, with an overall combined feel of his previous Secret Story and Beyond the Missouri Sky releases.

A warm, introspective journey, this set of 28 tunes (6 less than a minute long and another 10 less than 2 minutes) are well-crafted and are worthy for a listen on a Sunday morning with coffee, in front of the fireplace with a nice bottle of wine or a drive in the country, esp. for those in the midwestern US.

Strong performances by Sigourney Weaver and Julianne Moore highlight this involving and, at times emotionally draining film about the boundaries that are inherently a part of our lives, and the limits of those boundaries, both in how much we are able to give, as well as how much we can take. `A Map of the World,' directed by Scott Elliott, examines the confines of the parameters within which an individual must live, and the finite capacity of any one person to endure stress that exceeds the specific limitations established for that individual by nature. And it's not a matter of one knowing one's limitations; rather it is a matter of knowing how to cope with the results, once one has been driven past the breaking point into a world that can no longer be viewed in black and white, but only in shades of gray-- that point beyond right or wrong or what is politically correct; the point at which nothing matters but survival-- how to live in a world that can have so much to offer, while being so relentlessly unmerciful and decidedly unforgiving at the same time.

Transplanted from the big city to a farm in Wisconsin, Alice and Howard Goodwin (Sigourney Weaver, David Strathairn) are attempting to make a go of their own dairy business. But it isn't easy. Howard is immersed in his work, while Alice, in addition to taking on the full time responsibilities and pressures of raising their two daughters and maintaining the household, also works as a school nurse. And though Alice likes her life, the constant strain of keeping her own life on task, as well as seemingly everyone else within her sphere of existence, begins to take a toll on her.

With no respite from the daily grind, Alice becomes increasingly exhausted and exasperated. She finds some solace in her close friend, Theresa Collins (Julianne Moore), but what she really needs is some time to herself; some time to clear her head and regroup. Instead, an unexpected summer tragedy strikes the Goodwin and Collins households, which damages Alice's much needed relationship with Theresa. And as if that isn't enough, further trials and tribulations are about to descend upon Alice-- one of those curves life has a way of throwing at you when it's least expected, or needed. And it's something that will test the limits of Alice's capacity to endure, more than ever before.

Working from a remarkably insightful screenplay by Peter Hedges and Polly Platt (adapted from the novel by Jane Hamilton), director Elliott presents a genuinely honest film that takes an in-depth look at what it often takes just to `maintain' on a daily basis, and the very real issues and situations that a person like Alice is apt to encounter. From the very beginning, Elliott establishes the credibility of the film by creating an atmosphere and setting that is entirely real-- so real, in fact, it will be more than a bit disconcerting to many who will so readily be able to identify with Alice and relate to her situation. And, having effected such realism, Elliott then moves on to deliver a thoroughly engrossing, emotional drama, which he renders with great care and sensitivity.

Elliott achieves success with this film through an obviously keen understanding of the material, the story, and the characters and their corresponding attitudes and reactions to given situations. And he keeps it `real' throughout by eschewing any superfluous melodrama or sub-plots, the likes to which a film like this in lesser hands could easily lend itself. In the final analysis, Elliott knows what he wants to convey, and furthermore, knows how to do it by exacting the kind of performances from his actors that really sells it.

As often happens (too often, in fact), the extraordinary performances in this film were inexplicably overlooked (as well as the film itself) and/or ignored. Sigourney Weaver gives a commanding performance as Alice, arguably as affecting and effective as the work that earned Hillary Swank the Oscar this year for her portrayal of Brandon Teena in `Boys Don't Cry.' This is quite simply some of the best work Weaver has ever done, and it's a shame that she has not enjoyed the kind of acclaim that would accompany such an accomplishment in a perfect world. Which adds some irony to the whole thing, inasmuch as part of what this film is attempting to convey (and does so, successfully) is that we do not, in fact, live in a perfect world. All that aside, this is a memorable portrayal, in which Weaver exhibits a phenomenal depth and range of emotion.

The field was strong in the Supporting Actress category this year (Angelina Jolie received the gold for `Girl Interrupted'), but Julianne Moore's performance here stands alongside any of those honored with a nomination for their work. Like Weaver, Moore faced the challenge of creating a character that is so mainstream and `normal'-- one of those everybody's neighbor or the-clerk-at-the-store type of roles-- that the real difficulty lay in making it look so natural, which when successfully effected, makes it all look so `easy.' Which is exactly what Moore did with her portrayal of Theresa. And-- again, like Weaver-- it's a performance for which she has never received the deserved acknowledgement. Suffice to say, it's terrific work, and a big part of what makes this film so emotionally stirring.

Also effective is David Strathairn as Alice's self-absorbed husband, Howard, a man suffering from a terminal case of tunnel vision. How good he is here, in fact, can be measured by the feelings of disdain he manages to evoke toward his character, which at times, is quite substantial.

The supporting cast includes Arliss Howard (Reverdy), Louise Fletcher (Nellie), Sara Rue (Debbie) Nicole Parker (Sherry) and Aunjanue Ellis (Dyshett). An ardently thought provoking film, `A Map of the World' invites a sense of introspection and reflection; a film that's definitely going to make you do some thinking. 9/10.