The Nest

It would be impossible for me to rate this file. My wife and I chose to watch this film looking for thriller. It turned out to be anything but. If I had to classify this film, I would call it psychological character study. As this is not what we expected to see, we spent the whole time wondering when the thriller elements would begin. When the ending credits started, we thought it was a complete waste of time and regretted not picking something else. If it was properly classified, it might be an excellent film. It might rate a 7 or more. If you expected a thriller as we did this would rate a 0 or 1 which is something I would never do.

"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.

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

IN BRIEF: A well acted but inconclusive psychological study.

JIM'S REVIEW: (RECOMMENDED) Change is not always a good thing. A little known independent film called The Nest proves that point rather well. Director / writer Sean Durkin sets an ominous tone from the onset in this psychological study about a family coming undone with their abrupt relocation from America to the UK. To say that the move does not go well is an understatement.

Rory O'Hara and his lovely wife, Allison, live the perfect storybook life. He is a rich trader and she is his pampered trophy wife caught in 80's opulence and living the good life. All seems well enough on the surface with the O'Hara's until Rory decides to head back to his hometown of London and uproot his family. One small problem: Rory is a grifter and liar and he and his family will be forced to make the ultimate sacrifices due to his overt actions.

The family dynamic is odd from the start. Unexplained circumstances occur with some subtle but mostly heavy-handed symbolism (a dark horse buried and suddenly exhumed, an expensive fur coat showing personal greed and wealth, doors unable to lock, hidden cigarette butts indicating rebellion, a wool sweater showing character enabling, etc.). The on-going tension slowly builds and personality traits morph these characters into totally different individuals,: Samantha (Oona Roche) becomes the defiant teenage daughter, Ben (Charlie Shotwell) morphs into a introverted young boy and the husband/wife tag team, expertly played by Jude Law and Carrie Coons, become a warring tribe sorting through all of their self-centered behaviors. Mr. Durkin's screenplay establishes its tone most effectively, but only hints at the betrayals and destructive behaviors of this family. Scenes of more direct conflict could have created to produce a more concise family portrait.

Still most of the film is atmospheric and engaging due to Sean Durkin's fine direction and the acting of Mr. Law and Ms. Coons as the battling spouses. They are very good in their roles and bring their characters' self-indulgences and bitternesses centerstage. Their explosive scenes are terrific when they finally arrive as they snipe and rage at each other, but they are rarely viewed. Most of their inner anger stays within, always simmering to the top, yet rarely brims over. As their children, both Ms. Roche and Mr. Shotwell are totally convincing as pawns in their parent's gamesmanship.

The Nest is a special type of film, more for those moviegoers interested in psychological tension, creepy atmosphere, and well-define characters than a plot-driven story with definite results. Despite much to admire, this nest is a tad empty. (GRADE: B-)

It's the 80's. Ambitious commodities trader Rory O'Hara (Jude Law) returns to London taking his wife Allison (Carrie Coon) and their two kids. He is pushing for a big deal with a big payout. He is spending beyond his means and moves the family again to a country mansion. It causes friction with his wife and exacerbating their money trouble.

I like the idea of this family descending into dysfunction. I find a lot of it very compelling. Law and Coon are delivering intriguing performances. Filmmaker Sean Durkin, who made Martha Marcy May Marlene, is trying to give this film a quiet, naturalistic feel. It does need to be a bit clearer with the beginning. It's just too slow until the money troubles begin. That really raises the intensity and the movie picks up steam. Quite frankly, the start bored me to the point of passing out and I had to start over again. The passive filmmaking style is not conducive to paying attention.