Echo Valley

I didn't think I was going to like Echo Valley. Early on, it felt like yet another somber character study about a sad, emotionally walled-off woman trudging through grief. I found myself getting impatient with Julianne Moore's character-too quiet, too clenched, too stuck. My gut reaction was, "Okay, we get it. You're broken. Move on already."

But by the time the credits rolled, I realized: that was the point.

What starts as a slow-burn drama about loss and trauma quietly transforms into a nuanced meditation on the seductive comfort of victimhood-and what it costs to escape it. Julianne Moore gives a tightly coiled performance, full of quiet anguish and understated strength. She doesn't play a victim so much as a woman who's learned to survive by keeping her pain close, and her joy at arm's length.

Domhnall Gleeson is chilling in his restraint, embodying what happens when you let victimhood rot into violence and detachment. And Kyle MacLachlan-who I assumed would be a major player when he appeared-gets barely two minutes of screen time. But those two minutes are pivotal. His character, with quiet stoicism and no shortage of reluctance, models what it looks like to move on. He becomes the counterpoint to Moore's emotional limbo-a living example of what it means to leave the valley, metaphorically and literally.

Sydney Sweeney, on the other hand, feels a bit too familiar in her role. While she hits the marks emotionally, the character felt too close to her performances in The White Lotus and other recent roles: another whiny, self-absorbed, emotionally combustible young woman who seems to confuse chaos with depth. At this point, it's less a character than a brand. She's talented, no question, but here, she's recycling.

Then there's Fiona Shaw-maybe the film's secret weapon. As the loyal friend and emotional ballast, she plays the role that holds everything together. She's not a moral compass in the preachy sense-she's just present, constant, human. The final montage (which oddly echoes the vibe of a heist movie epilogue) showcases Shaw's quiet complicity and grace. She doesn't need big speeches-she shows up. Always. And that's what makes her character land so well.

By the end, I didn't just feel satisfied-I felt subtly re-educated. Echo Valley asks its audience to do something rare these days: sit with discomfort, and reconsider their snap judgments. It's not flashy, it's not loud, but it lingers. It's a film about people trapped in their own narratives, and what it takes to quietly write a new one.

I came in annoyed. I left impressed.

I gotta be honest... it was actually way better than I expected.

First of all, the movie is rage baity as hell (but I didn't mind it) Normally that kind of thing annoys me, but here it kinda worked. That's part of what kept me so locked in. It's like, you want to yell at the screen because you're actually into it. It's like a roller coaster of emotions,

Also, the acting was honestly impressive.

The movie is def not perfect. Some scenes dragged a little, and there were a few moments where the characters did things that didn't totally make sense unless you just accept that people sometimes act irrational when they're panicking. Also, the ending left me feeling a little weird. Not bad weird, just like... rage baity :D

Overall, Echo Valley isn't your typical big flashy movie, but it is something that pulls you in and doesn't really let go. It's messy, emotional, a little rage-inducing, and honestly, kind of thrilling in a quiet, twisted way. If you're looking for a wild ride that's not just action but also hits hard emotionally, I'd definitely recommend giving it a shot. It's not a perfect movie, but it's way more interesting than most of the stuff that comes out nowadays.

If ever a film made you want to scream in frustration, this would be it. From the constant betrayals of trust, to people getting away with horrendous crimes, to the overly-forgiving mom... it will drive you INSANE! That said, the acting was excellent across the board. Julianne Moore is convincing as the mother who will do anything for her child, even if her role is identical to what she's done in her last 50 films. Sydney Sweeney, while perhaps slightly exaggerated at times, delivers a strong performance as an addict, with very realistic addict behaviours. The standout for me was Domhnall Gleeson, who truly shone as the conniving, self-centred drug dealer. I'm so used to seeing him in more passive, underdog roles, so this was a great chance for him to show a different side.

That being said, the story and plot were absolutely maddening. I cannot accept the way Moore's character Kate treats Claire (Sweeney), and vice versa. It felt far too unrealistic. A mother's love is unconditional, yes, but there is a difference between unconditional and overindulgent. At some point, long before the events in the film, Kate should have realised that her constant "help" was doing far more harm than good. I hate when films normalise this dynamic between parents and children and villainise the voice of reason. I fully understand the parental instinct to protect your children at all costs, but when your actions only drag them deeper into their self-destruction, who are you really protecting?

Daughter is irremediably awful, overacted by Sydney Sweeney (even though she's a great actor I just didn't get into this role at all). The first half is just a torture show of bad daughter activities.

Movie picks up a bit in the last 2/3 but overall I just found the acting and characters flat and not really good enough to hold the screen. I get the point of the movie about grief and unconditional love bla bla bla, it just really didn't work for me.

The ending was pretty solid overall and this is an okay movie to kill a few hours, but I wouldn't recommend it to anyone. Overall ok in every way but that's it. Solid 5/10. The end.

Kate (Julianne Moore) is dealing with a personal tragedy while owning and training horses in Echo Valley, an isolated and picturesque place, when her daughter, Claire (Sydney Sweeney), arrives at her doorstep, frightened, trembling and covered in someone else's blood.

Right from the off the film promises to be something good, there's just a vibe about it. As the story grows you think it's going to be all about her wasting her life on her daughter and coming to an untimely end because of her.

But after some skilful twists and turns we realise it was never the film we thought it was going to be. Moore is fabulous as the mother, and Sweeney sure shows her acting chops as the wayward daughter. Domnhall Gleeson is at his menacing best in this taut, surprising thriller.

I very much enjoyed it and give it a solid 7.