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The Titanic lovers, Leonardo DiCaprio and Kate Winslet, get reunited for Revolutionary Road a tale of sterile life in the suburbs during the Eisenhower years. Not that this is anything new, the subject was done as comedy and as drama in such diverse films way back then as Rally Round The Flag Boys and Strangers When We Meet.

It's a nice story, but not one I could terribly worked up about. So Leonardo is working for some firm as a sales rep and it's a job he hates. Good for him, 90% of the American work force are in jobs that are just paychecks to support themselves and their families. Which Leo and Kate increased by two during the course of the film.

Seeing themselves in a rut, Kate lets fly the brilliant suggestion that he just quit and move to Paris. Not only that he should just 'find himself' and she'll work and support and raise the kids and him. Leo likes the idea, but then gets cold feet and it goes downhill from there.

Leo and Kate are fine, but the film just is not up to the standards set by Titanic. I sure cared a lot more about Jack and Rose than I did about either of the Wheelers. Nevertheless Revolutionary Road which is the name of the street the Wheelers live on in the film, got three Oscar nominations including one for Michael Shannon as the bipolar son of the Wheeler's neighbor Kathy Bates who sold them the house. Nowadays Shannon would be on his meds and leading a more productive life than he is here. Shannon lost for Best Supporting Actor to Heath Ledger for the Dark Knight.

Revolutionary Road is entertaining, but hardly groundbreaking.

Leonard DiCaprio and Kate Winslet star in "Revolutionary Road," a 2008 film directed by Sam Mendes. The film also features Kathy Bates and John Givings.

It's 1955. Frank and April Wheeler have been married seven years, live in the Connecticut suburb and have two children. Frank works for a company that his father worked for, and he hates his job. April is a stay-at-home mom who wanted to be an actress.

While it might look good on the outside, this isn't the life either one envisioned. But April has an idea. They have enough money saved so that they can move to Paris, a city Frank loves. She can get a job as a secretary, which pays very well over there, and Frank can stay at home and decide what he really wants to do with his life. It sounds possible but maybe not practical, though Frank ultimately agrees to it.

Frank can't seem to find the right moment to give his notice; and then April discovers that she is pregnant. What now? There are lots of layers in this emotionally resonant, magnificently acted film. It's very much a story of its time for several reasons. The first is that it's obvious that April suffers from very bad depression. Though post-war psychological problems were recognized, actual depression, especially in a woman, probably wasn't given much attention. It was the returning soldiers who had suffered trauma who had the psychiatric focus. If by some means she had been discovered to have clinical depression, the medicine was horrible.

The second thing is that it was 1955. The ideas of picking up and moving to Europe with your family and the woman as breadwinner were outrageous back then. Now, not so much.

The third reason is that April at least had an artist's mentality and an artist's way of looking at the world. In this world, we have the practical and the artist, as in the O'Neill play Beyond the Horizon, where one brother is a farmer and the other brother is a poet who dreams of going out to sea. The problem is, there's no way to kill those attributes, and if you try, you won't be happy. April shouldn't have been married, shouldn't have been living in the suburbs, and shouldn't have stayed home.

Frank is more practical, though he'd like to be different, would like to do something he loves, if only he knew what that was. April thought he was cosmopolitan, adventurous, and that together, they'd be special. The idea that they're not special is something she can't tolerate.

This is such a fascinating movie about life's disappointments, punctuated with some humor by Kathy Bates as Mrs. Givings, a loquacious woman, whose son (Michael Shannon) has been institutionalized. When he meets the Wheelers, he has an uncanny way of speaking exactly the truth no one wants to hear. Shannon does a fantastic job in these disturbing scenes.

A shattering movie. I like to be entertained in films. I feel like we all have so much to reality to face, why not be able to turn away from it - but a beautifully realized film like this about dysfunction - somehow, I don't mind.

Revolutionary Road is not a very joyful film, or is it easy to watch. Instead of being simply entertaining, it achieves what not many films these days do. It wants to be a learning lesson.

This film is superbly crafted, in both the writing and the amazing direction by Sam Mendes. After his great film 'American Beauty', he comes back with strong will to do this project. His direction is the best of the year for sure. It feels so professional, so alive. The writing, both of the characters, Frank and April Wheeler, I feel they are so open and 3-dimensional characters, but the screenplay wants to let us inside their lives, and it does so with great passion. Leonardo Dicaprio plays Frank with such intensity, with such force. Dicaprio gives his best performance here without a doubt, since I don't really think he has ever done something like this before. Then there is Kate Winslet. My favorite actress, and certainly one of the most talented out there. Winslet has surprised me before in a lot of movies, but here, she surprises me in a whole other way. Her silent, unlikeable, and sometimes human and cold portrayal of April Wheeler is one of the best performances of the decade. She gives the best female performance of the year, and I truly hope she finally wins the Oscar she deserves.

The film itself is so beautiful, so alive, yet at the same time, so dark to what the film is about. The cinematography is amazing, as well as the costumes and the whole set designs. The music, the original score, was so unsettling, perfectly balanced to what each scene brought.

Revolutionary Road is not a film for everyone. I can definitely see some critics will hate it, but it should certainly be respected, for its ambition, for the things it accomplishes and every thing it portrays. I think this is Mendes' masterpiece. I have not seen a better made film this year.

I went to see this at an advanced screener in Leicester Square last night. Kate Winslett chatted about the film on stage afterward. I went as one of those people who'd read the book and consider that source material to be amongst the best literature I'd ever read. I was wondering if and how the film could match up. My prior concerns were about how accurate the film would be. Well, there's nothing to worry about there. Mendes has created a near carbon copy of the book, the locations, characters and scenes are all exactly as I 'saw' them on the page. Nothing (as far as I could tell) is portrayed out of order, no extra characters are introduced, and no primary characters are dropped or altered. The acting is 100% perfect. The mies-en-scene is perfect. Absolutely nothing could or should have been done differently. So why not 10/10? The problem lies in the fact that Yates' novel is a literary one, much of the essence of the experience of the story is realized by Yates with just the right turn of phrase or choice of word. How does a director set about depicting or capturing this visually? I don't think he really can, he needs to use cinematic tricks and devices to inject resonance, the same resonance Yates achieves with that turn of phrase. But in being so (probably rightly) concerned about being true to the source material, the film somehow comes up a little flat as a film going experience, a sort of American Beauty without the crucial stylistic bells and whistles. Kate Winslett said afterward that (interestingly) it was she who had brought the book and the project to her husband, not vice versa and that it took some consideration for Sam Mendes to convince himself that he hadn't already told this story before, and by the final credits, I too was thinking just that, it felt like I'd watched a prequel to American Beauty, but without the pizazz and the rapture and the delight. So, the book, 10/10, the film, 8/10.

I saw an advance screening of Revolutionary Road in Beverly Hills, CA this evening (December 14th). A Q&A session followed the screening with Leonardo DiCaprio, Kate Winslet, Kathy Bates, Michael Shannon, Kathryn Hahn, and screenwriter Justin Haythe. Photos from the Q&A are attached to this report.

Revolutionary Road is a story that you won't be able to shake easily. The film will stick in your head and leave you to contemplate what has just happened on the screen before you. Richard Yates gives us the story of Frank and April Wheeler, the seemingly perfect suburbia couple. We soon find out their marriage is teetering on the edge of a collapse as they are overwhelmed by the fact that they have each made the wrong choices in their lives.

Once again Kate Winselt and Leonardo DiCaprio come together with great chemistry, pulling the best out of each other. This is a heavy film with emotionally complex characters, I'm not sure I could think of any two actors that could pull off the roles of Frank and April Wheeler like Leonardo and Kate did.

"Truth is usually in singular - Lies always come in plural." I'm not sure who said that, but it is a notion that sums up this film.

Michael Shannon shinned in his role as the clinically insane son of Kathy Bates character; John Givings. Bates and Shannon both deliver humorous scenes to this heavy storyline, although there are times when you see the sadness and desperation in their characters as well. Michael Shannon's character, John Givings, is the truth in this film. Although clinically insane, he can see through everyone's lies and does the unthinkable; he forces everyone face their own truth.

I guarantee you will not be singing "My Heart Will Go On" after seeing this film. But you won't be disappointed with this little film gem.