Echo Valley

It should be a rule that male writers, male directors, and male producers are not allowed to monopolize a movie. There are no female writers, nor female director and NO female producers on this movie. Yet it is a female oriented story. The nonsense story goes out of it way to make every male character a horrible stereotype as if trying to justify the female character's actions. Males cannot write females well because they are never in a female world. Women can write males well because they grow up learning history, literature, sports, art from a male POV. But unless men are taking women's studies from second grade through college they have no idea of the woman's POV. Too bad this movie loses out because of that fact. Julianne Moore should know better than to work with a young male writer and director but maybe this is the only job she could get. Sydney Sweeney's character is edited to make absolutely no sense. What a waste of time and money for Apple TV or whoever paid for it.

This movie is a gripping thriller about a mother's unconditional love for her daughter. The performances were amazing the cinematography was as expected of an apple studio movie or tv show just perfect. Julianne Moore and the rest of the cast deliver powerful performances and you know they're great because you find yourself getting frustrated with some of the characters and the trajectory the plot takes was infuriating to say the least but then it starts to mellow out. Now this trajectory sometimes works but in sone cases you find yourself wanting to just turn the tv off or whatever Kendrick Lamar said lol and I really almost did except I always finish what start but I do mildly recommend this movie. And I say mildly because of how this movie ENDS. All I can say is I HATED Sydney sweeney's character was the WORST. Produced by Ridley Scott and Directed by Micheal Pearce.

Greetings again from the darkness. We should all be so fortunate to have a friend as loyal as Leslie, and we should strive to be wiser than Kate so that we don't ever have the need to test that friend's loyalty. Director Michael Pearce (ENCOUNTER, 2021) is working with a script from screenwriter Brad Ingelsby (the excellent "Mare of Easttown", OUT OF THE FURNACE, 2018), and a superb cast to deliver a thriller that offers both familiar territory and twists and turns in a film that is ultimately relatively entertaining to watch.

The film opens with a stunning overhead shot of a lifeless body floating in the middle of a tree-lined lake. We don't know who it is or the story of how it got there. Oscar winner Julianne Moore plays Kate, still in a grieving funk nine months after a tragic accident killed her wife Patty (Kristina Valada-Viars, "Chicago Med"), who is seen only in flashbacks and heard on saved voicemails. Kate manages to crawl from bed each morning and do just enough to keep her horses alive on the farm where her business is giving riding lessons. Since she's cancelled most of those lessons, she must grovel to her ex-husband (Kyle MacLachlan) so she can fix the sagging roof on her barn. The two argue about money, her state of mind, and their daughter ... whom dad describes as "sick".

It doesn't take long for us to understand how all the pieces of their argument fit together because daughter Claire (Sydney Sweeney, "The White Lotus", "Euphoria") shows up at the farm, and we learn that her mother Kate is the ultimate example of an enabler. Claire has a long-standing drug problem as well as the corresponding mental issues. She knows her mother can be manipulated into doing just about anything for her. It doesn't take long for a couple of other players to enter. Ryan (Edmund Duncan) is Claire's drug-addled boyfriend, and Jackie (the ubiquitous Domhnall Gleeson) is their compelling drug dealer ... one who is out about ten grand due to the idiocy of Claire and Ryan.

Once the dynamics are in place, the twists and turns begin - none of which will be detailed here. You should know that it's all pretty suspenseful provided you are able to overlook a bit of creative stretching from a storytelling perspective. Fiona Shaw plays Kate's bestie Leslie (as mentioned in the opening paragraph), and what comes across clearly here is that this group of actors definitely elevate the material to the point where we actually care what happens to Kate, Claire, and Leslie. Ms. Moore excels in her grief, in her role as (overly) dedicated mother, and as a shrewd independent. Ms. Sweeney goes against her usual glam role and flashes some pretty impressive emotional range, while Mr. Gleeson nails the opportunistic drug dealer. It's kind of hard not to notice that the males in the story are all various shades of scumbags, save for the detective near the end.

Cinematographer Benjamin Kracun (PROMISING YOUNG WOMAN, 2020) manages to capture both the beauty of the setting and the intensity and emotion of the personal interactions. Composer Jed Kurzel (SLOW WEST, 2015; THE BABDOOK, 2014) takes a unique approach to the score, preventing it from sounding like most suspense films. It seems probable that Mr. Ingelsby writing and Mr. Pearce's directing would have been better served in a limited series ... although this outstanding cast might not have happened. I found the film's ending somewhat less than satisfying, yet overall the entertainment value was fine.

The film will premiere globally on AppleTV+ on June 13, 2025.

I watched this movie only because of its pair of actresses: the renowned and almost always excellent Julianne Moore and the rising star Sydney Sweeney, who has been catching my attention since the series "Euphoria" (2019). In fact, many good people have come out of this HBO series starring Zendaya and have constantly appeared in other productions.

So, without knowing anything other than having seen a trailer that didn't tell me much other than a complex relationship between a mother and daughter, each one experiencing their own serious problems, and the presence of a body, I got on board with the movie. And what a pleasant surprise.

Written by Brad Ingelsby, who also wrote the excellent HBO series "Mare of Easttown" (2021), "Echo Valley" is a delight for those who like that genre of films that deal with a crime and the complex situation of solving a problem amidst ethical and moral dilemmas.

In the midst of all this, we have a mother grieving the death of her wife and having financial problems maintaining her farm, a drug-addicted and unpredictable daughter, and an unpredictable bandit played by Donhnall Gleason.

And more than that cannot be said so as not to spoil the entire experience of the film. The only obvious conclusion is the realization that it is not easy to be a mother.

"Echo Valley" is a truly compelling film that excels in its strong performances and an engaging storyline. I'd give it an 8 out of 10 on IMDb, and honestly, the only reason it doesn't get a perfect score from me is its considerable length.

The narrative is well-crafted, drawing you in from the beginning and keeping you invested throughout. But what truly elevates this film is the acting. Sydney Sweeney's performance, in particular, is exceptional. She delivers a powerful and nuanced portrayal that stands out and leaves a lasting impression. The entire cast brings their A-game, making the characters feel authentic and their struggles palpable.

Despite the runtime being a bit of a marathon, "Echo Valley (2025)" is definitely worth watching for its captivating story and brilliant acting, especially from Sydney Sweeney.