This movie defiantly needed some more time to explain the events, because the way it was portrayed left me confused and made me ask myself why certain scenes suddenly just stopped. You can catch on pretty quick what this is about, two boy's lives and how they end up with each other, but tossing a girl into the mix. It had potential, but it was too short to be anything more then a 3 star film. Obviously not all people would like this, but it is a touching movie no less. Definitely rent before you buy.

I had heard bad things about this movie but I still wanted to see it because it looked as if it could be one of those movies the critic's just didn't understand. Well, after watching it last night I've come to believe that the critic's got it right. There is just something very wrong with this movie; something I'm not sure I can really put my finger on, but it's something that drives me far away from the film. One thing I can put my finger on is Colin Farrell's horrific performance. I'll get to that in a minute.

The film revolves around Bobby Morrow who at a young age loses everything that would constitute a `home' in his eyes. His brother dies in a strange accident, his mother dies and then his father passes away all by the time Bobby is in his early teens. With everything falling apart around him he finds some sort of stability within a friendship with Jonathon Glover and his family. Jonathan is, without question, interested in Bobby as much more than a friend, and Bobby isn't necessarily apposed to the idea. After they are caught exploring their friendship by Jonathan's mother their friendship is strained. We then see them again eight years later when Jonathan's parents are preparing to move leaving Bobby without a home once again. He calls up Jonathan who had moved away some time ago and moves in with him. Bobby begins an affair with Jonathan's roommate Clare much to Jonathan's disapproval and this causes many shifts within everyone relationship with one another.

The film could have had a unique feel to it but instead comes off overdone and tired. Nothing new is really explored, and when anything `fresh' comes up across the horizon bad acting and or pure stupidity seem to muddle everything.

Dallas Roberts tries hard to breathe sympathy into Jonathan but he comes off whiny and spoiled, very unsympathetic indeed. Robin Wright Penn comes off as just plain strange, intriguing but maybe to a fault. I found myself contemplating her actions and in the end chalking them up to pure stupidity which left me cold towards her character. This leaves us Colin Farrell who plays Bobby as if he were mentally slow. Watching him stare off into the distance is painful because his eyes look empty as apposed to full of wonderment. I got no sense of this man aside from naivety. His performance was torturous to watch, and I'm one who lauded his turn in `Alexander' so I'm far from a Farrell hater. In fact, the only performance that I admired was that of Sissy Spacek who once again proves that she is a masterful actress who can even elevate the dullest of material.

In the end I was very unimpressed with `A Home at the End of the World'; a film I was hoping would grip me. It has potential but in the end it squanders all potential and delivers a film that is nothing more than mediocre, maybe even less than that.

Excellent film I could relate to it in a lot of parts. I thoroughly enjoyed it, and would highly recommend it.

I was suckered into watching this horrible film because on the DVD cover Roger Ebert described it as "one of the best films of the year." I could not disagree more; after watching it I was still searching for "a plot at the end of the film." What plot there is I found entirely unbelievable. Bobby Powell grew up smoking pot, which he introduces to his high school friend Jonathan, and to Jonathan's mother Alice. He also shared sex with Jonathan and an erotic flirtation with Alice. When Jonathan and Bobby meet years later as adults, Bobby fathers a child with Clare, Jonathan's live-in friend with purple hair. Bobby claims, "I just want everyone to be happy." The "family" of four moves to Woodstock where they open a cafe. But did we not learn from that generation, if not from our HIV generation, that so-called free love, sex and drugs are very expensive? Only in a Hollywood movie could such a bizarre picture be portrayed as idyllic.

I just love the story this movie delievers and have watched over and over. Colin Farrell just melts your heart in this movie and you just can't help but fall in love with that character. Sissy Spacek was great as well, you never think of her in such a light hearted role. Definately worth the buy.

This movie touches on all senses. The story is about more than just three people. In touches on circumstances, friendship, and life. What are we here for and how should we approach life. It's simple to think we are just on some ride that will eventually end. The message is simple enjoy what you have...and be satisfied with what your given.

This movie is a wonderful sleeper. I loved how this movie was portrayed and what love has endured to different types of relationships. The actors were perfect for thier roles and portrayed very well. It was very nice to see Colin Farrell in this type of role and feeling very comfortable with the role that he is in. Too bad we didn't see more of him in this movie. He is a great actor!!

There is an old saying, if you have nothing nice to say, say nothing at all. But I feel compelled to critique this film, partly because I really liked what I think it was trying to say... Follow your heart, not what's necessarily popular, follow a Bohemian lifestyle if that what makes you happy. O.K.
This film instead comes across as one produced by a major corporation to get us all thinking about heading back home to the suburbs. Because really what it's saying is even if you have all the idealism in the world, it will only land you in a ghost of a town like Woodstock, N.Y., full of self doubt, and hypocritical trappings.

First of all the acting was not bad, I have no issues with the acting. In fact along with the other fine actors in this film, Colin Farrell should be angry. Their true abilities in developing characterization seem to be written, directed, and edited right out of this film. There is little or no subjective viewpoint from these characters lives. The viewer is left on the outside looking in, wondering where these characters are coming from, or what they are motivated by. This film forces us to assume everything in order to believe anything, without dramatizing or exemplifying why these characters feel the way they do. The effect is clear, as the screen-writer and director have apparently anesthetized these characters into poseurs and masked sterotypes; the only thing left to be certain, the only thing that can be derived, is that they truly do believe in hair color, haircuts, and one-night stands.

"A home at the end of the world," wants us to believe it's making a liberal statement, wants us to swallow the whole enchilida. By using home as a metaphor and a terminal disease to create sympathy for itself, what this film really does is lead us down the road with good intentions to a home decorated in bad taste.

One of the best movies I've seen.A childhood full of love, confusion, drugs and pain for the lost of the love ones, a life full of love and friendship.
The Cast chosen is excellent in all the stages of the story.
Collin Farrel is not only one of the best actors nowdays but also one of the hottest men in hollywood.
Music and photography are great also, a travel to the 60's 70's
Lots of erotism, love,joy and candidness in their eyes

This movie, I'm sure, didn't make a splash but it is one of those wonderful movies that makes you think. All the "R" rated visuals/actions are not gratuitous but fit in the story. A movie that makes you think and stays with you long after it ends.

I thought Colin was sleeping at first. I didn't realize he was "acting sensitive". It would be more interesting to watch paint dry, than this slow, boring, pointless movie. So, his friend is gay, big suprise, and Colin movies to New York to live with him and kooky girl. Who ever thought Robin Wright could look ugly? She used to be an attractive girl, I guess living with Sean Penn must be very stressful. You probably guessed the plot - kooky girl really loves gay friend, but Colin shows up and she sleeps with him gets preggy and they all move to hooterville and live the "unconventional life" thats even more boring than living in the "burbs". They are the most conventional "unconventional" bores of all time. Either overdose on black coffee or skip this one. For extreme Colin fans only. Enjoy!

This is an enjoyable film, even if there is an atmosphere of quiet sadness that runs throughout the entire script from the early scenes of a 9 year old on LSD in a graveyard to the final scenes of a distant farmhouse in upstate New York.

This film has multiple strengths; (1) coherent themes about recovering from loss, the structure of family, and self-identity and abadonment of social structures to meet personal needs; (2) excellent characterization by a great cast; (3) wonderful ability to establish a time and place using clothes, expressions, but primarily with music.

Michael Cunningham, in both this work and in The Hours, teaches us lessons about the necessity of loss to human life and the need to recover from the losses and maybe even triumph, or at least not allow loss to defeat us. The character of Bobby, played by Colin Farrell, is such a character. He loses his beloved 19 year older brother, then his mother, and finally his father all before finishing high school. Yet, his need for intimacy, for family, allows him to integrate into the home of his best friend, Jonathan Glover, becoming a second child to the Glover family. Bobby retains the ability to recover from loss, converting the pain into joyful existence, even as he loses Claire and baby Rachel and faces the fact that he will even lose Jonathan to AIDS. In an early scene he sits in a graveyard with his friend Jonathan, near the graves of his parents and older brother and tell Jonathan not be be disturbed because "the dead are people too."

A second theme to the film is the comparison of one character who decides to take on a gay identity, Jonathan, and become integrated into the gay life of NYC in the early 1980s, with another character, Bobby. For Bobby, who is really beyond bi-sexual and might best be described as pan-sexual, sexuality becoming a path toward belonging, intimacy, and a way to meet dependency needs. Bobby does not define himself and thus is free to experience a range of relationships and emotions that strict self definition would restrict.

A third theme is that of constructed family or alternative family, where needs are met, rules and patterns are established, roles and responsibilities are distributed, and constant adjustments must be made since society does not define what is right or wrong. These families require lots of work, especially when three adults are in the relationship. In a unique plot twist, it is not the characters who are having the most heterosexual sex and who have a child who begin to edge out the gay character. It is the odd wander-lust of Claire that eventually breaks up the threesome.

Beyond these 3 themes, the characterization was superb. Colin Farrell did such a great job in Minority Report, that this was one of the reasons I bought this film. Any male star who can hold his own in a film in which the male lead is Tom Cruise, has something going for him. He plays the sweetness and transparency and vulnerability of Bobby with childlike innocence and dependency. Robin Wright Penn and Dallas Roberts are both excellent but Sissy Spacek as Mrs. Alice Glover, Jonathan's mother, does a fantastic job of demonstrating how a character can abadone social roles and expectations to be genuine, to be a real person. It is her son Jonathan who is most uncomfortable with his mother smoking pot and discovering Bobby and Jonathan mutually masturbating.

Finally, the use of music by The Band, Jefferson Airplane, Dusty Springfield, Leonard Cohen, and Laura Nyro continually give the film a sense of time and place, helping us understand Jonathan's sexuality and his AIDS symptoms.

Excellent! You will be moved.

If you want to see how sweet and vulnerable, and what a fine actor, Colin Farrell really can be, just watch the scene where he confesses he's "never done this before" to Clare. The expressions on his face and in his eyes will make you fall in love with him. Robin Wright Penn's performance in that scene is wonderful as well.

I bought this because it starred Colin Farrell. Unfortunately, his talents were not well used. The interesting thing is that they found someone to play his character as a teenager who looks very much like him. This is supposed to take place in New York in the 70's and 80's but it lacked a real sense of place. However, there are some fine actors in the film and, in the end, I found it interesting.

I can't give this movie five stars simply because some scenes were just disturbing (while still being total necessary to the film). This is just a classic story of a boy trying to find out where he belongs and what he's supposed to do. Under all the shock value scenes there really is a beautiful love story here. Its not a movie that I would consider a must own, but if its on HBO or something, you should check it out.

Made before Brokeback, this film also depicts complicated feelings, passions, and relationships, which in this case happens to be between two men and a woman. The story never becomes too sappy or predictable. At first, I was disappointed in the ending, but in retrospect a melodramatic ending would have ruined the delicate, simple story line. A FANTASTIC performance by Colin Farrel, and very good portrayals by Robin Penn Wright, and Sissy Spacek. I would have given it 4.5 out of 5, if possible (I rarely give a 5!) I can't wait to go back now and read the novel.

This is a nice little film that comes out of left field. It will appeal to you if you are something of a 'dreamer'.

The film opens with a series of scenes that are almost groaners. Situations develop, and you think, "oh my God, they aren't going to do what I think they're going to do...", and almost invariably they do exactly that. A boy gives his 9 year old brother a tab of acid. A few years later, Bobby, the younger boy, engages in homosexual masturbation with a friend. These scenes are a bit telegraphed, but still shocking. The only taboo that the film declined was an older woman/young boy relationship between Bobby and Sissy Spacek as the friend's mother.

The film as a whole presents a rather romanticized,"pie-in-the-sky" view of the 1960's and 70's. But the cast does a good job, and the film moves along quickly, providing a plot that is emotionally satisfying even as it challenges your notions of morality.

The character of Bobby ( played by Colin Farrell ) seems roughly analogous to Billy Crudup's character in the movie, "Jesus' Son", although that film is spiced by more humor and even more chaos. Both Farrell and Crudup seem to be playing variations on the 'Fool of God' in characters that are preposterously innocent and/or stupid.

This movie also made me reflect on Paul Mazursky's "Willie and Phil"--which also chronicled the 70's through the device of a menage a trois.

Surely one of the stars I give this film is dedicated to its use of Laura Nyro in the soundtrack--which definitely helped make me feel more predisposed toward judging it favorably!

I caught the ending of this movie on cable one night, and I was so moved by it that I had to go out and buy the DVD. After watching it all the way through, I have to say that this is one of the best movies that I have ever watched. The characters in this movie are both funny and heartbreaking.......you will find yourself laughing and crying during this movie. All of the actors were great in their roles, and Duncan Sheik's music will tug at your heartstrings too. This is a movie about love, pure and simple. You will be glad that you added this movie to your collection. Truly a masterpiece. I could watch it over and over.

I could relate to the comments by reviewer Queequeg below, but if you look past the cliché there is a lot to this movie.

Remember 'just loving' your best friend in high school or college? Then you met Mr/Ms Right. Now friendship, love, and sex are all mixed up and you don't even realize it at first. You wake up one morning with the things you wanted, but now you question was this really the goal? The story demonstrates that appropriate decisions make us better, but sometimes sadder.

This is one of the few movies I can see multiple times. I was very surprised to find Colin Firth more dimensional that the sex crazed fool of "People" magazine articles.

The storyline veers dramatically off the book, which happens to be my favorite book - if you have not read it, please do, you will fall in love with the characters.

Regarding the movie, Farrell's portrayal was the only one who was able to even get some of the emotional attraction that his character in the book has with readers. Though, it took about halfway through the film for this to begin happening.

When I first bought the movie, it was shortly after I read the book and I hated it. I only watched the first hour then shut it off because much of the film is different than the actual story. Though after I few months, I decided to watch the film again, and did not have the book as fresh in my mind, and I really enjoyed it. There are still considerable flaws with the film. Poor casting in some roles, most in fact, and the director and character's fail to allow viewers to fall in love with them, though the movie is entertaining and worth watching.

This was a very good movie, from start to finish, dealing with a lot of intense subjects that a lot of people don't like to talk about. Colin Ferrel shows he's got a big set of balls when he plays the part of a bi sexual male, even though he didn't really do anything when it was his turn to act on his character. He still played the part well, without seeming to give his friend the cold shoulder just because he was different. While the movie does have the momentary drug scene, (this was supposed to be the sixties), and the interaction between the multitude of charaters isn't something you'd find on everyone's list of must see t.v., the movie is really good, the acting really great, and the time well spent.

What a movie!! It gives a new and true meaning of what you make of family and friends. Forget what society says about what constitutes a family. In an ever changing world we have the right to make for ourselves a home at the end of the world; away from preconceived notions. Collin Farell truly excels in the character he potrays in this film. This film is not about being or not being gay; it's about loving someone for what they are in essence....people, no matter if you're a man or a woman.

'Family can be whatever you want it to be,' sayeth the box cover. An inspiring lure. We all hunger for a home and for a family to call our own. And what a wonderful world it would be if family could truly mean more than just DNA chains and societal bonds. Micheal Cunningham's BOOK, 'A Home at the End of the World,' lights a flame of hope that a family CAN BE forged out of simple love and not just thrown together from tradition, societal pressure or even sexual compatability. Alas, Micheal Mayer's film of the same name falls far short of this dream. Mayer tries to recapture the flavor of the book, but fails. Yet another lesson that good books don't always make fine films.

Yet, let it be said that Cunningham's characters present a definite challenge to any filmmaker. The story's central character, Bobby is a true child of tragedy, almost too unreal to be human. Losing both parents at a tender age as well as his beloved brother, he becomes an unhitched teenager looking for a family, for a love that won't abandon him. He finds a permanence of sorts in his geeky high-school buddy, Jonathan, with whom he dabbles in pot-smoking and furtive boy-boy sexual encounters. Jonathan knows early on that his adolescent connection to Bobby is a harbinger of things to come. He knows he wants men and in particular Bobby. And Bobby? What does he want? Neither the film nor book make it clear, but Bobby, like us all, wants security and unconditional love. And for him, it doesn't matter with whom. Borders--sexual or otherwise--mean little to Bobby, who soons finds his surrogate family with Jonathan's parents. Jonathan moves out, Bobby moves in. Jonathan explores the gay life of New York's Village, while Bobby stays behind with the Glover family in suburban Cleveland until they decide to move to Arizona minus Bobby. Again threatened with abandonment, Bobby runs after Jonathan and joins an odd threesome which includes Jonathan's eccentric friend, Clare. Together they explore their emotional connections to each other. Clare longs secretly for Jonathan, but settles for Bobby. Jonathan finds sexual intimacy with men, but his heart remains with Clare. Bobby gives his heart to both and his body to Clare. Pretty complicated and thoroughly fascinating stuff. Stuff that should be put to film and was. So why didn't it work?

The reasons are many, not least of all, the difficulty of Cunningham's text. His characters seem to act according to unknown forces. Their motivations remain mysterious at best, obscure at worst. Not a good base for a film. The film begins with Bobby walking in on his beloved bro, Carlton, having sex with his girlfriend. Next we see Carlton hurling through a sliding-glass door, then bleeding, dying. Next to leave Bobby is his mother, then father. And then suddenly, a strange bespectacled boy (Jonathan) jumps into Bobby's life. How or why? Any lead-up or background is painfully absent. Next comes pot-smoking with Mom and the boys' having fun in bed. Every scene is thrown at the viewer at a furious pace and before you know it, you are onto the next. I can't imagine how those who haven't read the book could grasp anything from such chaos.

Things get better when the happy threesome comes to grips with itself. Clare seduces Bobby, who relinquishes his virginity in an outburst of tears. Why? There are hints, but the film never develops them. Next, we see brief interludes of Jonathan's promiscuous life before skipping to the funeral of Jonathan's father. Here, Clare explodes with the news of her pregnancy and five minutes later, all three are stuck on a farmhouse in upstate New York.

This surface-skimming never hits solid ground until the very end. And again we're left hanging. Clare finally makes it known to Jonathan (and to us) that 'I've always wanted you.' Jonathan shows Bobby an odd-looking bruise suggesting that his days are numbered. And finally, Clare decides to escape this hopeless menage-a-trois and puts Bobby to the test. 'Do you wanna come with us?,' she asks two times. Bobby answers negatively. Why? Is it filial devotion to his dying boyhood pal or it is a serious emotional attachement to Jonathan, the man? The viewer is left to tie up the loose ends. And by the time the film's 97 minutes are up, that adds up to a lot of dangling threads.

Mayer used some big guns, but none of them got to grips with their characters. How could they in 97 paltry minutes? Sissy Spacek's talent can't redeem a very unbelievable performance as Alice, Jonathan's mother. She has so few real 'motherly' scenes that it is difficult to see her as anything other than a cameo appearance. Dallas Roberts' Jonathan turns in a solid if lackluster performance, but again, he doesn't appear often enough for his character to really develop. Yet, the two reasons Mayer's film doesn't disintegrate completely are Colin Farrell and Robin Wright Penn. Their relationship is the only one that can be FELT in the whole film, and even then, pretty lightly at that. Penn's passion and intensity saves many a scene, but she too was given too little to work with. Farrell's Bobby on the other hand is the central link throughout the whole film. Yet, despite Farrell's not insignificant acting talents, he is crushed by the lameness of Bobby the character. Cunningham's Bobby is an amorphous and edge-less 'thing' lacking a true identity. He kinda wafts through life like some sort of Dostoyevskian idiot. Instead, Farrell's Bobby is left being the pot-reeking mouthpiece of 1969, spewing such half-baked nonsense like, 'It's all goodness,' and other vapid gibberish.

Why should anyone watch this film? Maybe the best reason is the premise, Cunningham's brilliant idea that Clares, Jonathans and Bobbys DO exist in this world. Sadly, they are still waiting for their story to be put on the screen. But until then, I'm not too sure family can be what we want it to be.

i have now seen this dvd 23 times. i relate to this movie more so than any other i have seen. i had never heard of colin farrell prior to this movie. he is stronger in some and weaker in others. in this one he brought just the right amt. of happiness and pain to it. after 23 times you can tell i thoroughly enjoyed this. i recommended it so highly to my cousin that she went out and rented it. all she saw was smut and cannot understand how anyone could possibly see it so many times. so much for trying to educate people. i am a senior citizen and i am here to tell you that this is really how it was in the 50s and 60s, for me anyhow. i really enjoyed it.

This movie contains several taboo situations, which having been raised in the South, was refreshing to see! I've had several of my friends watch it, as some of the issues and confussions seen in the movie really relate to life situations of a lot of people. The ending hits a little suddenly, which is the result of the one star off, should only be a half off... Overall, a wonderful movie from my perspective, others of my friends did not enjoy it as much, but I guess it hit me on a more personal level.

What really defines a family? This movie explores a modern day family. I was not expecting much of the movie due to the lead male role but surprisingly it was well done.

Michael Mayer's AT HOME AT THE END OF THE WORLD defines the word "sleeper." While the movie began I was captivated by the bizarre suburban Cleveland neighborhood the screenplay delineated, and when the boys became teens and Bobby befriended the nerdy Jonathan in high school, well, for one thing you couldn't take your eyes off how bad little Bobby's wig was, but on the other they definitely had some sparks between them, and the scenes where the needle drops on the old Columbia LP of Laura Nyro and Labelle, broke my heart with nostalgia for a time that seems now so far away, perfectly recreated. Sissy Spacek is better in this part than she has been for years, and for once she doesn't seem like "Sissy Spacek." As Alice, the suburban, aproned baking mother, she resists all her own tics, or director Michael Mayer made her play against them. Just the way she holds the laundry basket under one arm as she barges in on her son and Bobby smoking pot is a lesson in fine acting. You can almost see the plastic basket clench up, like her heart. It's a dexterous piece of writing, when Bobby offers Alice a hit of the joint, just because she has been so good to him, ignoring conventional proprieties and scandalizing Jonathan. I was sitting there, watching the scene, thinking on the one hand, this would never happen-that it's some kind of gay magic realism-and on the other, torquing an imagined world in which the love we feel can be simply, easily expressed instead of all bottled up and perverted.

Colin Farrell is so magnetic and handsome, once Robin Wright cuts his hair, that you just can't believe he never had sex in his life till he met her in the East Village. And what were all those handjobs under the sheets in Cleveland? I guess you're supposed to think he was bisexual, or just good at heart and gave it away to whoever wanted it. But at the same time, not promiscuous. Only Jonathan is promiscuous in the movie, and he pays for it at the end by coming down with Kaposi's sarcoma. The movie has it both ways, but the actors are so good we go both ways with them.

It doesn't make sense that, having so much fun together, the trio can't stay together forever. I remember reading the book long ago and thinking that the tragedy was inevitable, but in the movie you want them to stay happy and disagree with the moviemakers' decision to split them up.

[...] Didn't Bobby stay with Jonathan after Clare and the baby left, even though Jonathan was dying and Bobby's greatest fear was being alone? I found this movie very touching, and the performances very real. Colin Farrell's performance was a revelation. Not to mention, as Clare does, that he's "adorable" in this movie. My only regret is that they didn't show Bobby and Jonathan being physically intimate after they were teenagers.

I read this book just a few months ago, after it was reccommended to me by a friend. I enjoyed the book greatly and never dreamed I would like the movie just as much. You don't get to know the characters in the movie the way you know them in the book, but that's always the case. I still can't get over Colin Farrell's portrayal of Bobby. He was so sad, so happy, so vulnerable, so strong, that I can't get it out of my head. Great!

Yet another movie where the gay man ends up sexless and alone, finds a KS spot, and dies of AIDS.

The novel was good, but in a distinctly 1990's sort of way. Now this material seems outdated, mundane, and depressing.

Other than that, Colin Farrell is surprisingly good (for a change) but the script is so flowery that one never once believes these are real people in real situations. These are just literary characters, moving down a well-trodden path towards a predictible conclusion.

"More atmosphere than plot and more character-driven than story, A Home at the End of the World never manages to engage viewers. It keeps the audience at arm's length throughout, never letting us get inside the mind of two of the characters, and the motivations of the third are so paper-thin and apparent that the tremendous amount of time devoted to backstory is unwarranted."

a surprising and touching film that uniquely tells the story of one of the most interesting families possible. The film captures not just the nebulous nature of sexuality but the powerful bonds we have with diverse people in our lives.

The film is highly original and very moving.

After reading several reviews about this film, I thought I'd like to see it for myself.
After viewing the film, I was disappointed with the ending, which seemed to leave the film unfinished.
In some ways, I felt the character of Bobby not quite believable; as though he was too naive to be real.
The character of Jonathan was overly surly and callous.
I will watch the film again, hoping to find some positive points.

Colin Ferrell is wonderful. Robin Wright Penn is wonderful. The screenplay by Michael Cunningham is ripped from the pages of his novel leaving behind its true heart and soul. How I would like to see this film done again, with the same cast, with a more faithful adaption of the book. Buy the book and read!

Director Michael Mayer and screen writer Michael Cunningham combined their formidable talents to create an emotional masterpiece which is seldom found in the world of film. This is the tearful story of Young Bobby Morrow (supurbly played by Andrew Chalmer) who is untimely separated from his older brother, but discovers that he is gifted with supreme insight. With it, he establishes a loving and emotional foundation with both his lifetime,companion (Harris Allan) and their triadic lover Sissy Spacek. From his early boyhood days when Love could be found in a kiss or shared at arm length, to the countryside estate which allows him to fulfill his fanciful dreams, the touching story is supremely crafted to illicit the most heart wrenching emotions and delightfully delivers hope and love as a divided. If the viewer possesses a heart, this film will touch it.

This little, quiet movie has a charming, melancholy soul, and it has subtle things to say about who we love, and why. I found every performance in this movie to be almost heartbreakingly real, and the small, intimate scenes between people to be poignant, and well-observed. Colin Farrell has never been quite as appealing, and his beauty has never been put to better use as a sweet, winsome, soulful boy looking for love, family and happiness. Despite a few movie cliches, this movie surprised me and made me want to see it again, and again. It boasts a delightful soundtrack of chestnuts, atypical and non-commerical, incluidng a few tracks by poet-songstress Laura Nyro, whose own version of her song "Gonna Take A Miracle" will have you immediately looking for the soundtrack (it's not on it; you'll need to get her one of her own CD collections, which are easy enough to find). Enjoy, and make sure you've got a Kleenex handy!