The Nest (2020)

This obviously is a movie where someone thought they would put a new/different twist on the presentation of the main ideas in the story...they failed miserably.

Not taking the time to realize we, the audience, are not mind readers...something a director may think is great may not be understood, make sense or fit in. I have to admit there are a few scenes that I did not understand the meaning or how they contributed to the story. Sometimes a straightforward approach works the best.

We all know what it was about...family and home life is the most important, that is where your riches lie...do not put on airs or try to live outside your means...people can easily spot what you are about if you are full of b.s. etc. etc. etc. BUT a bunch of random thoughts pieced together do not make a movie.

Fmovies: I liked this movie, but as at least one other reviewer has pointed out, it doesn't really go anywhere. Which maybe is the state of many unhappy marriages, as that seems to be what the movie is trying to portray. The acting is amazing and while a bit slow at many points, I was pretty engaged in the story. However, unless you've lived the hopelessness of a failing marriage and the unmet promises inherent to one, I think it might be difficult to find much to relate to in the movie.

"The Nest" (2020 release from the UK; 106 min.) brings the story of Rory and his wife Allison and their kids Samantha (14) and Benjamin (10). As the movie opens, we are in New York and watch "a day in the life" of this family. Next morning, Rory has news: he has a great job opportunity in London (where he hails from). Allison reluctantly agrees, and soon the family arrives in the UK at their new place in Surrey, a massive 17th century mansion. It's not long before tension rises... At this point we are 15 min. into the film but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it al plays out.

Couple of comments: this is the second feature-length film from writer-director Sean Durkin, who previously gave us the excellent "Martha Marcy May Marlene". Here he examines the consequences of uprooting a family from their familiar New York surroundings to a brand new and unfamiliar environment in the UK. This movie is plot-heavy and hence I'm not going to say a whole lot more, although I will say this: I found this movie classify, as it covers a number of different areas, although a generic 'family drama' could cover it. Also, the movie is set in the 1980s: there is reference to "President Reagan" on the radio, and 1980s music is a-plentiful including the Thompson Twins, the Cure, and many others. What I thought at the end of the film was this: "Money's Too Tight (To Mention)", the 1985 hit by Simply Red. Why? Just watch! Jude Law (as Rory) is excellent once again (he currently stars in the HBO mini-series "The Third Day"), and the same goes for Carrie Coon (for Allison). Beware: there are a few scenes in the movie involving horses that you may find difficult to stomach (I looked away).

"The Nest" premiered at this year's Sundance Film Festival (yea, pre-COVID-19) to good buzz. Then of course movie theaters shut down. The movie finally was recently released in select theaters, including my art-house theater here in Cincinnati, fully adhering to all COVID-19 protocols. Not that it mattered, as the Tuesday early evening screening where I saw this at was attended poorly: 2 people (including myself). If you are interested in a hard to classify 'family drama' or simple a fan of Jude Law or Carrie Coon, I'd readily suggest you check this out and draw your own conclusion.

The Nest fmovies. This is not a movie. Just what the #ell did we just try to watch? We had to fast forward the back half just in case.... but nope. Just as lackluster and boring as the first half. If you like movies with no ending, no middle and no story line, this is for you. What is going on with scripts these days? We just want to be entertained, escape. But not be fed crap that someone thinks is 'art'. Oh boy. So bad so slow. Backwards. Stay away. Ps. Stay away :)

Awful. Nothing happens. No movement. No interest. Don't care about any of the characters. Colossal waste of actor potential. Awful.

Greetings again from the darkness. I'm not sure how to officially protest, but this is writer-director Sean Durkin's first feature film since the excellent and thought-provoking MARCY MARTHA MAY MARLENE in 2011. Okay, he directed a TV mini-series ("Southcliffe") in that span, but there really should be some kind of ordinance mandating (or at least pleading with) Mr. Durkin to share his art more frequently. His approach is not conventional, and it challenges the eye and mind. The story doesn't move at the pace we've come to expect, and the characters - though quite believable - don't always act the way we expect.

Jude Law stars as Rory O'Hara, a business man with big dreams ... dreams far bigger than his work ethic. Carrie Coon ("Fargo", GONE GIRL) co-stars as his wife Allison. This husband and wife couldn't be more different. Where Rory is the big-talking blow-hard who, Allison is the down-to-earth horse trainer. Oona Roche plays teenage daughter Samantha, and Charlie Shotwell (CAPTAIN FANTASTIC, 2016) is the younger Benjamin. Durkin does a nice job with the family set-up in the first few minutes of the film. We get a sense of each, as well as the family dynamics. There is a great shot of Rory sitting idly at his desk, and soon after he wakes up Allison with a cup of coffee and the announcement that they need to move to London.

The film is set in the 1980's (the Reagan-Thatcher era), and Rory's desperation to prove his business acumen is on full display when he meets his old (now new again) boss Arthur (Michael Culkin). Rory is a social climber, intent on keeping up with the Joneses (or whatever they're called in London), and he's referred to as "Old British - New American". He takes it as a compliment, but we soon witness Rory as little more than a fast-talking salesman. A restaurant scene featuring Allison, Rory, and his co-worker Steve (Adeel Akhtar) is brilliantly played, as Rory's professional life begins to unravel at a pace matching that of his family life.

We see each of the family members cut loose in their own way, in an attempt to deal with the strain. Timid Benjamin lashes out at school. Samantha throws a wild bash at the family home. Allison guzzles gin and lets go on the dance floor. Speaking of the family home - it's an old mansion that is the loudest symbol of Rory's stretch to impress. The film seems to tease us a couple of time in regards to possible paranormal activity within the home, but that's simply Durkin's misdirection. The only thing rotten or haunted is the make-up of the family. Their domestic dysfunction is horror in its own right.

Rory's delusions of grandeur and worshipping of money are finally thrown back in his face during a tremendous scene of Taxicab philosophy. When asked what he does for a living, Rory answers, "I pretend to be rich", in what may be his only moment of clarity. Jude Law is superb as the charming guy we don't really like, and Carrie Coon goes toe-to-toe as his polar opposite, and she's exceptional. Mr. Durkin and cinematographer Matyas Erdely (SON OF SAUL, 2015) keep us off balance with the fascinating shots within the mansion, and startling close-ups that make a point. There is certainly no abundance of light, but this isn't the type of family that the spotlight tends to find. It's likely to be a divisive film not embraced by mainstream audiences, but adored by those who crave projects that are creative and different. It play