The Greatest

"I want to know everything I would know if he was still alive. I want more memories of him."

After their teenage son Bennett (Aaron Johnson) dies in an accident, Allen and Grace (Pierce Brosnan and Susan Sarandon) are left unable pick up the pieces and move on after his death. But when the young woman (Carey Mulligan) who's carrying Bennett's unborn baby arrives at their doorstep with nowhere else to go, the tension and pain of Bennett's death is brought forward in a way that will either destroy the family, or finally push them towards dealing with their grief. Scenes of Rose and Bennett's relationship before his death are also woven throughout the movie, and provide a nice way to better know the two characters.

The Greatest started off pretty well. The scenario of a family struggling with the loss of a child isn't an uncommon one, but the cast seemed well on their way to delivering a solid story about loss and healing. Mulligan was excellent, and Brosnan and Sarandon were solid, even though they occasionally didn't quite deliver the emotion that they were reaching for in a few scenes. No, my problem with The Greatest wasn't the actors or the premise, it was the writing.

The story takes the oddest detours at times, often with little relevance to, well...the actual story. This really seemed apparent with the character of Ryan, whose entire subplot with the girl he meets has little relevance on his character arc, and made his resolution feel artificial, as a result. And Rose and Allen's trip to a teenage party seemed completely out of place, and I was left wondering what it was supposed to add to the story. The characters also didn't appear to have a truly solid identity, and as a result, some of their decisions and interactions didn't come off as genuine. It's like writer and director Shana Feste had ideas about what she wanted to see happen in the movie, but didn't bother to build those ideas around relatable and believable characters. A movie like this depends on making a connection between the audience and the characters, and at times, that connection felt very hollow, for me.

The Greatest is an okay movie, but I'm convinced that it could have been much better with a script written by someone with a better grasp on creating solid characters.

This is not a "feel good" movie, but its feelings are true. The story follows a family (mother, father, brother) of a young man killed in a car accident in the first scene of the movie. Their lives are jumbled up by the introduction of the son's (brother's) girlfriend. I thought all of the actors turned in fine, powerful performances. Even more impressive is that the writer/director of the film was a first time filmmaker. That she was able to get such a marvelous cast in her first film is amazing. This movie reminded me of "Ordinary People," updated for today. Of course there are differences, but it's the same genre.

Although I recommend the movie, know that it's kind of a downer. I have a feeling it won't do well because these days people want movies that are more of the "feel good" variety.

This film is about a family who grief over the loss of their son in a traffic accident. This process is complicated by the unexpected arrival of a teenage girl who claims to have their son's unborn child.

"The Greatest" is powerful and touching. The mother, played by the amazing Susan Sarandon, is relentless in knowing the truth about her son's final moments. She gives such a moving performance that anyone gets saddened by her tragic loss. Carey Mulligan also deserves mention, as she displays a spectrum of convincing emotions effortlessly. Judging by the stream of great movies she is in, she will be a big star and Hollywood knows it.

"The Greatest" is a powerful story that moves anyone easily. As Susan Sarandon's character says, once your child is born, a woman knows that her child is the greatest. It is easy to relate to this statement, and yet everyone seems to be forgetting to celebrate this fact. As this film shows, you never know what you have got until its gone. "The Greatest" is a powerful reminder that you should treasure your family before its too late.

The Greatest (2009)

A crisis of youth becomes a crisis for a whole family, and it's serious stuff. There's an attempt, very conspicuous in gesture and angst filled expressions, to be gritty and real, and it's a believable scenario. It's a tearjerker, surely, an intimate psychodrama dripping in sentiment.

However, the movie depends almost purely on this terrible crisis to succeed, and that's actually slightly backwards, in movie terms. That is, it should be the writing and acting that sweeps us in and makes us share the grief of the main characters. You end up wanting to empathize, but it's sometimes despite the movie, which pushes very hard, like a friend who wants to make you feel bad about something. It has such touching moments it's hard to quite accept that a lot of it is clumsily written, almost like a high budget beginner's film, which sounds worse than I mean it. But you'll see, I think, even if you love it thoroughly, that it works modestly. So accept its flaws, ignore the obvious flashbacks to the good times, skip the dining room table where people are sitting all on one side so we can see them all from the camera, ignore the patter that is meant to make life ordinary and doesn't, and so on. Be forgiving or give it a pass.

What saves the movie (somewhat) from its excesses is the performance of the lead girl, Rose (Carey Mulligan), and the father, Mr. Brewer, played by Pierce Brosnan, who is a nuanced dad, whatever his James Bond pedigree, though neither one is given decent lines to work with. (Brosnan was also a producer, go figure.) The mother is meant to be disturbed in her grief, and she sure is. The sexy grad assistant is too too obvious even for the movies. And the brother, well, what is his role, actually, just to add a second improbable plot? And there is surveillance video of the crash, which is beyond even reasonable open-mindedness, given the isolation implied by the first several minutes of the movie. The sensationalism of that, alone, will warn you of what's to come.

Okay, one last confession. It gets so emotionally atomic at times, with the throbbing cellos coming in the background, I had to laugh out loud. I swear. And yet, I see how it deals with some truly, believably gorgeous stuff.

Except for the baby ,the movie will remind Italian cinema buffs of "La Stanza DeL Figlio" and the part of Ryan is close to Conrad the young brother of "ordinary people" ;like in the contemporary "rabbit hole" each of the parents desperately searches for solace:the mother tries to talk to the other injured driver to know the last words of her son (whereas Nicole Kidman,fascinated by a comic ,wants to believe that in parallel universes ,her son is happy);the father tries to live again,goes to the movie theater with the pregnant girlfriend,attends the echography whereas his wife quickly leaves the room "if you lose your dog,we're not given a puppy!" The cast is excellent ,particularly Pierce Brosnan,cast against type :he and his younger son seem to have overcome the pain,but when they finally break down,their despair and their tears are deeply moving.The flashbacks are short and effective ,particularly the last one which is also the end of the movie and which is not a goodbye but a hello.