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The climatic stretch of cross-cutting, scored with "Oh, the humanity!" music, is a staggering miscalculation. The reversals and last-minute rescues would be more compelling if we believed the psychology of the character doing the stalking, and if the answers that the filmmakers had given us were more interesting than what we'd imagined before they hauled out the dry erase board and started writing explanations on it. The final act is a prolonged, too-conventional stalking. This is the kind of film that explains itself too early and then has nowhere to go except into rote, B-picture thrills. The pretense of ambiguity and complexity turns out to be a tease. And after a certain point, you start looking at that nearly-all-star cast and wondering which of these seemingly decent if distressed people is up to something evil, and it dawns on you that this is a contrived domestic thriller that's using superior performances and brooding atmosphere to make you think there's something deeper going on.
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For the most part, the situations play to the actors' strengths-particularly Danner, who has become the Earth Grandma of American cinema, and Kinnear, who can play genial and deprived with such equal facility that never know what to expect from his characters. The movie is mesmerizing as long as we aren't sure whether we're watching a horror film (or fantasy) about immaculate conception or a movie that's building up to a rational explanation.īut some of the characters are better-served by the dialogue than others (Ryan is stuck with the worst lines, mostly sour and stilted exposition), and there are too many moments where you can finish the characters' sentences for them. everyone but Bill and Gail) and goals (to deliver or discover information). Athale and Garcia are going for a lean-and-mean approach, and it works well enough at first, because the character interactions are organized around sharply defined conflicts (Melissa vs. It's a pleasure to watch a movie that's told in complete, self-contained scenes with beginnings, middles and ends, and that doesn't lean on constant editorializing music and exposition dumps to create the illusion of excitement. The storytelling is less assured, though. screen time, Allegra Fulton's cameo as a fortune teller is right up there with Gloria Foster's only scene in the original " The Matrix" she has the voice of a streetwise fairy godmother who always tells the hard truth). Even performers who have just one scene make a powerful impression.
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I want you in this movie,'” she recounted.Qualley is the best thing in "Strange But True," a psychological thriller adapted from John Searles' novel by Eric Garcia (" Matchstick Men") and directed by Rowan Athale. The second-best thing in the movie is every other actor, a bomber crew of big talents that includes Connor Jessup as Melissa's boyfriend Ronnie, who died in the aforementioned wreck Nick Robinson as Ronnie's brother Philip, still on crutches Amy Ryan and Greg Kinnear as the brothers' now-separated parents and Brian Cox and Blythe Danner as Bill and Gail Erwin, Melissa's adoptive parents. “He said, ‘Oh, well, you can sit behind a desk. She asked Clark how he planned to transform an eight-month pregnant woman into the teacher. At eight months pregnant, the couple was in the final stages of preparation, not to mention the fact that Moore could have possibly gone into labor. Beyond her concern about hiding her pregnancy, she and her husband were preparing to welcome their first child. Moore admitted she was skeptical about taking on the role. How did Miss Shields look portly instead of pregnant? Clad in a Depression-era dress, costume artists cleverly concealed Moore’s burgeoning belly, leaving the audience to believe Miss Sheilds was just a portly Midwestern educator.
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Moore’s frumpy appearance was actually pregnancy as she shared that she put on about 35 pounds of baby weight. In fact, it was rare for a married woman to stand in front of a classroom.” “In 1938, pregnant women never stood in front of a classroom. “The film took place in 1938,” she told NWI Times in 2009.
In fact, Moore didn’t want the role in the first place because no single woman would be pregnant and out in public in 1938. Tedde Moore | Vince Talotta/Toronto Star via Getty Images)