The Nest

"The Nest" was totally preaching to this choir.

The older we get, the more my wife and I find ourselves drifting into the life philosophy of minimalism. Our focus is on cutting all the junk out of our lives, not just material junk, but psychological and emotional junk as well. This means deciding where are priorities are, what's important to us, and eliminating things and people that interfere with that.

The patriarch in "The Nest," played by Jude Law, is pretty much the exact opposite of that. Never content with what he has (which is a lot when the movie starts, and more than most people on the planet will ever have) he insists on moving his family into a giant and decaying mansion in England in order to take a job that he knows will give him his big break. But it doesn't, and the effect his greedy lust for more, more, more has on his family comprises the plot of this movie. Law is very good, but Carrie Coon, as his wife, steals the show. Her character arc is the film's most fascinating element, a woman who's allowed herself to become subservient to her husband but for whom subservience doesn't come naturally. A couple of scenes, both set at dinner tables as it happens, where she asserts her dominance over her husband, are the film's most uncomfortable and memorable.

Some symbolism involving a pet horse is broadcast with all of the subtlety of a tornado siren, and the sheer unpleasantness of being around these miserable people may turn some viewers off, but I mostly found myself engaged with this one.

Grade: A-

How can any one make his or her family move locations 4 times within a 10- year timeframe? Let alone move overseas with a horse? That poor horse portrayed the stress and trauma of the downfall of the parents. Moving requires the kids to be uprooted, costly, change of schools, making new friends, etc. As the mom, she could have said to her husband, "go to London and figure out your plan." But we wouldn't have this movie then. The mom never seemed to be at home with kids nor had her own career; yet she hid her own money for her own emergencies knowing that her husband is an over spender and superficial hedonistic possibly narcissistic delusional person pretending to be rich while drowning in debt:. I think, his wife, Allison is equally at fault for agreeing to move the 4th time while pretending her husband, Rory doesn't have a problem. Hello, did she not live with this guy for the past 15 years (having a teenage daughter and 10 year old). I know some jobs like the military and many other job require household moves but that would all be expected already and paid for by those organizations.

"The Nest" (2020 release from the UK; 106 min.) brings the story of Rory and his wife Allison and their kids Samantha (14) and Benjamin (10). As the movie opens, we are in New York and watch "a day in the life" of this family. Next morning, Rory has news: he has a great job opportunity in London (where he hails from). Allison reluctantly agrees, and soon the family arrives in the UK at their new place in Surrey, a massive 17th century mansion. It's not long before tension rises... At this point we are 15 min. into the film but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it al plays out.

Couple of comments: this is the second feature-length film from writer-director Sean Durkin, who previously gave us the excellent "Martha Marcy May Marlene". Here he examines the consequences of uprooting a family from their familiar New York surroundings to a brand new and unfamiliar environment in the UK. This movie is plot-heavy and hence I'm not going to say a whole lot more, although I will say this: I found this movie classify, as it covers a number of different areas, although a generic 'family drama' could cover it. Also, the movie is set in the 1980s: there is reference to "President Reagan" on the radio, and 1980s music is a-plentiful including the Thompson Twins, the Cure, and many others. What I thought at the end of the film was this: "Money's Too Tight (To Mention)", the 1985 hit by Simply Red. Why? Just watch! Jude Law (as Rory) is excellent once again (he currently stars in the HBO mini-series "The Third Day"), and the same goes for Carrie Coon (for Allison). Beware: there are a few scenes in the movie involving horses that you may find difficult to stomach (I looked away).

"The Nest" premiered at this year's Sundance Film Festival (yea, pre-COVID-19) to good buzz. Then of course movie theaters shut down. The movie finally was recently released in select theaters, including my art-house theater here in Cincinnati, fully adhering to all COVID-19 protocols. Not that it mattered, as the Tuesday early evening screening where I saw this at was attended poorly: 2 people (including myself). If you are interested in a hard to classify 'family drama' or simple a fan of Jude Law or Carrie Coon, I'd readily suggest you check this out and draw your own conclusion.

Nicely played and it does have some interesting themes but it never makes the most of them, feeling dramatically inert for long periods. All of the tense scenes are in the trailer, the rest is a rather humdrum, if never quite boring, collection of family scenes. Saved from being a 5 by the final few reels.

Sean Durkin's new film is a modest yet searing drama about a family that relocates from the United States to the English countryside after the father (Jude Law,) an entrepreneur, moves his job. The move eventually brings out a variety of conflicts between him and his wife. The film works best as both a layered character study of the two leads (Jude Law and Carrie Coon.) Both of them are very well-developed as characters, with their strengths yet deep-seated flaws thoughtfully communicated. Viewers are able to feel for both of them, and will understand their imperfections while simultaneously sympathizing with some aspects of their daily lives.

The film's aesthetic, including the score, are beautifully understated. This isn't a flashy film, but it's not trying to be. The score is ominous yet powerful and moody in the best way possible. The screenplay goes a great job ratcheting up dramatic tension between the husband and wife, while also providing careful context to the narrative on many levels-Jude Law's character's work situation, the characters' relations with others they meet while settling into life in the UK, and how they respond to difficult and adverse events. The main couple's children are also thoughtfully depicted in the script; the writing shows them to be dynamic yet shaped by a variety of external circumstances in their personal and familial lives. The acting is terrific across the board, as the main characters are able to clearly convey raw grit and anguish as their interpersonal relationships end up getting increasingly muddy and dysfunctional. All in all, this is a complex, smart and well-made look at the the impact of greed on our lives, as well as the intricacies that govern how we respond to each other during difficult and uncertain times. Despite all of these positive qualities, the third act is a bit underwhelming and fails to completely satisfy or pack the expected emotional wallop. Instead, it leaves us with a feeling that doesn't quite add up to the sum of its previous parts. As a result, the film is not a home run. Yet I do recommended it without hesitation to patient viewers who can appreciate challenging, slow-burn cinema. 7/10