Unrelentingly bleak, the movie is nonetheless a riveting drama with some outstanding performances...
Reservation Road (2007)
Tomatometer
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Reviews Counted:106
Fresh:39
Rotten:67
Average Rating:5.2/10
Consensus: While the performances are fine, Reservation Road quickly adopts an excessively maudlin tone along with highly improbable plot turns.
Synopsis: A wrenching drama based on the novel by John Burhnam Schwartz, RESERVATION ROAD is the story of two men whose lives are torn apart by a tragic accident. Ethan Learner (Joaquin Phoenix) and his wife... A wrenching drama based on the novel by John Burhnam Schwartz, RESERVATION ROAD is the story of two men whose lives are torn apart by a tragic accident. Ethan Learner (Joaquin Phoenix) and his wife Emma (Jennifer Connelly) are consumed with grief after their son Josh (Sean Curley) is struck by a hit and run driver. The man behind the wheel was Dwight Arno (Mark Ruffalo), a divorcee who was racing to get his own son back in time in accordance with a custody agreement. A lawyer himself, Dwight is all too familiar with the consequences of his actions. Unsure of what to do, he panics, then conceals his car in his garage. Lucky for him, the police can't find any leads, and the case quickly turns cold. Time passes, and Emma wants her family to heal and get on with their lives, but Ethan has become consumed with finding his son's killer. In a bizarre coincidence, he shows up at Dwight's office seeking legal advice about how to catch and prosecute the perpetrator. The guilt is eating away at Dwight, and he makes a plan to turn himself in, but not before he has a proper goodbye with his own son. When an image suddenly jars Ethan's memory of the accident, he begins to piece things together, causing him to quickly seek his retaliation, which results in a gripping and emotional stand-off. Joaquin Phoenix and Jennifer Connelly are excellent as the grieving parents, both offering a painfully realistic portrait of grief. Mark Ruffalo is equally impressive as the tormented and conflicted Dwight. While the film works nicely as both thriller and family drama, it at times has an emotional intensity that can be almost difficult to watch. Yet, all tear-jerking elements aside, director Terry George has crafted a smart and complex tale of loss, and the long, difficult road to healing. [More]
Starring: Joaquin Phoenix, Mark Ruffalo, Jennifer Connelly, Mira Sorvino
Starring: Joaquin Phoenix, Mark Ruffalo, Jennifer Connelly, Mira Sorvino, Elle Fanning
Director: Terry George
Director: Terry George
Screenwriter: John Burnham Schwartz, Terry George
Producer: Nick Wechsler, A. Kitman Ho
Composer: Mark Isham
Studio: Focus Features
Reviews for Reservation Road
Reservation Road may be a downer story with elements that we've seen many times before. But acting this good makes it special and exhilarating.
Reservation Road is built as a thriller, but a thriller of the emotions.
For all of the roiling emotion, it feels oddly flat, distant and one-dimensional.
The film's biggest emotional wallop comes in the first few minutes, always a bad sign.
In the elegaic, beautifully acted Reservation Road, both [Phoenix and Ruffalo] are trying to find a path toward wholeness and each will need the other to find it.
The real problem with this movie isn't its trashy side. It's the creepy note of causal judgment that hangs over it concerning the potential nightmare of parental visitation and enforcer ex-wives.
A thoughtful and often compelling drama about grief, anger and revenge...
Conventional in its storytelling and far less effective for the effort, but [Ruffalo's] performance often overshadows his Oscar-nominated castmates.
Such TV-movie style set-ups may have worked better in the original novel, but on the silver screen play as an eye-rolling chore.
The tears and the blame mix uneasily in Reservation Road, a grim, mechanistic thriller about death and suffering, life and healing among the civilized.
It's a thundering character drama that charges headfirst into issues of responsibility and loss, permitting 100 minutes of screentime to stew in nerve-wracking declarations of pain.
This could have been a crackerjack paranoid thriller of the Fritz Lang school, but director Terry George is more interested in making a prestige picture, full of yelling and crying.
Even more than its lame dissection of white grief, Road has no moments of actual tension for a film that has been called, in many publications, a thriller.
Centered around coincidences so extraordinary they pull me out of the film.
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October 18, 2007:
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