One Hour Photo (2002) User Reviews

A Dark Character Study with a Gripping Performance

[TwistedContent · 8/10 · 10 January 2021]

There was always a lot of intrigue to find out what's been called one of Robin Williams's toughest roles and most horror-like movies, and, even after 18 years, it is a performance & story that holds up the chills and morals. "One Hour Photo" is an unexpectedly dark character study with considerable depth, anchored magnificently by Williams showing skilled hand at handling an atypical and eerie material, and a clean, almost uncomfortably sterile style direction by Mark Romanek.

Seymour Parrish, a mentally troubled photo developer has been obsessing over a middle-class American family whose paper memories he's been making, and the obsession is slowly getting more blind and disturbing than anyone would expect... Romanek, with this being his first (major) full feature, has done a great job. A story like this could've easily been a dime novel worthy obsession thriller to sink among better examples, but subtlety won over Romanek, and the approach he's taking commits to the movie's heavy atmosphere and bizarre nature. The utterly unpolluted, clean visual style reminded be of Kubrick, but more so of Yorgos Lanthimos films, like "The Killing of a Sacred Deer" and "Dogtooth". Around the middle and beginning of the third act, Romanek seems to lose the momentum in the story a bit, but the ending makes up for it. It's quite the flawed thriller, but undoubtedly a great drama. Sy "The Photo Guy" is whimsical before he's stone-cold, often disturbingly fearless, always craving of connection, filtering his life through the idea and philosophy of photography, hiding his hurts and thoughts deep down. Seymour Parrish could very well be Williams's finest performance, for the effort in probing such psyche really grips and impresses. Rest of the cast, from Connie Nielsen to Michael Vartan and Eriq La Salle, offer solid supporting performances. I'd also like to compliment Reinhold Heil & Johnny Klimek, the composers of the original score, which surprised me in its effectivity and how much it didn't remind me of the early 2000's.

SPOILER AHEAD: "One Hour Photo" actually reminded me of "Joker" quite a bit - both movies are about mentally troubled persons, both of whom are basically villains and also the by-a-margin dominant main characters of their respective movies, both of whom eventually commit heinous acts propelled by their traumatized minds, both of whom even end up in very similar places. What's my point? There isn't one, just a handful of similarities I noticed.

"One Hour Photo" is a flawed movie with a substantial and pitch-black character study, carried by an all-loved actor famous for much different roles, and carried so masterfully. 'Nough said. My rating: 8/10.

I sincerely enjoyed this film

[ihaveabigrick · 7/10 · 27 January 2003]

One Hour Photo is a film of supreme caliber. The film is powered by the haunting, chilling, silencing, and above all-genius performance by Robin Williams. But the rather extraordinary thing is that it is not Robin Williams on the screen, it's Sy Parish (the character's name). Robin Williams fades away from our senses and slips into the ever so sweet and innocent yet psychotic role of a supermarket's photo developer. The films script is only accented by Williams, at times, restrained performance. Williams ignites on the screen and burns till the last frame, and you are unable to take your eyes off him. As I mentioned the film is subliminily written as well as directed. Though being Romanek's first, I certainly don't think this is a bad start. Romanek's direction adds to the on-going tension throughout the film. More affecting is Williams' delightful calmness. Trying to hold himself in becomes more troublesome for both Williams and his character as the story develops. Yet through the calm eyes of an innocent blaze the fires of hatred and intensity, which could very well sum up Williams' performance. The film does have some disturbing images as well. Yet they are not really strong enough for you to get up from your seat and leave yet rather the opposite. Williams' contribution as well as guidance towards the actions and scenes of peril compell as well as amaze you towards both the performance and film itself. Williams' shocking contribution to the screen is enough to make you cry, scream, and yell in your seat. Because the origins of the character are bittersweet just like own known Williams, leads to a crazed and psychotic breakdown. It's as if watching our own funny and beloved Robin fail us. Though the truth could not be any further, Williams but succeeds in the art of acting, creating an achievement in the field. Creating a landmark. Writing his/its own chapter. I guarantee that this film will be required study material in acting classes for now on. In conclusion: definitely one of the best of 2002.

Robin Williams in a tour de force performance

[Leofwine_draca · 7/10 · 22 September 2016]

A character study of obsession and growing madness, this is a film which makes up for a dearth of action by incorporating lots of suspense and subtle increases in tension into the running time. It's an exercise in psychological creepiness, boasting a near-flawless performance from Robin Williams, whose acting is introverted and subdued this time, instead of the awful loud comic character we have grown accustomed to from his earlier career. In fact, this might well be the best film of his long career. Without Williams, I'm not sure the film would be so successful in what it sets out to do; indeed, I can't imagine anyone else essaying the part as well as he does here: lonely, balding, blond-haired and totally alienated from the rest of society, he's a man without a life, whose obsession with a 'normal' family leads to tragedy.

The surprising thing is that many scenes are riveting, despite not a lot happening. Moments when Williams faces the disapproval of his boss (Gary Cole, in another wonderfully nasty and impassioned turn) are engrossing, whilst the hotel set-piece at the finale keeps you guessing for as long as possible. Not sure I'm totally in favour of the (anti) climax, but at least it does away with cliché and presents things in a far more realistic light than we often see in the movies. Sober, surprisingly intelligent and insightful: worth watching for Williams alone.

subtle but chilling portrayal of madness

[Buddy-51 · 29 September 2002]

Robin Williams gives what may well be the performance of his career in `One Hour Photo,' a creepy psychological thriller written and directed with cool precision by Mark Romanek. Given its premise, the film could easily have degenerated into a sordid, exploitative tale of obsession and madness. Instead, Romanek has chosen to take a more subtle approach, fashioning a film that downplays the potential violence of its material while, at the same time, recognizing the humanity of its central figure.

Romanek understands that the greatest threats to our safety and lives often come from the gray, nondescript people who surround us unnoticed, the `nobodies' whose benign faces and vacuous smiles reveal no trace of the insanity, evil and potential for doing us harm that may be lurking right there under the surface. And nobody is `grayer' than Si Parrish, an innocuous, socially undeveloped milquetoast who spends his days working as a photo developer in one of those sterile five-and-dime drug stores (just like the one in `The Good Girl') - and his nights sitting all alone in his drab apartment brooding over a massive family-photo shrine he has erected to the Yorkins, a seemingly happy family of three whose pictures Si has been developing, copying and obsessing over for more than seven years now. The film centers around Si's growing fixation with this one family and his delusional belief that he too could somehow become an integral part of their family unit. Then comes the day when Si realizes that he is no longer content to be a mere vicarious member of this adopted family and, thus, begins his plan to gradually insinuate himself more and more directly into their lives.

As both writer and director, Romanek manages to keep us in a state of vague uneasiness throughout. We are always anticipating some potentially dreadful event, yet Romanek doesn't go for the easy thrill or the obvious plot turn. Thanks to Williams' subtle, incisive performance, we come to understand something of what makes this strange character tick. We begin to sense the deep-seated loneliness and social awkwardness that have come to play such an important part in defining both his behavior and his character. Si is scary, but he is also pathetic. He may have slipped over the edge into madness, but it is a pathology rooted in overwhelming loneliness and the inability to `fit in' to the societal `norm' of marriage and family. Even when his character is at his most threatening and irrational, Williams somehow makes us care about him.

Romanek hits upon a few ancillary themes as well. He acknowledges how photos create the appearance of a life without necessarily reflecting the reality of that life. Most people, Si confesses, record only the `special, happy' moments of their lives – birthdays, weddings, holidays etc. and leave out the mundane or painful ones. Moreover, Si tells us that people use pictures as a way of defeating aging and time, of saying to the world of the future that `I', this seemingly insignificant person, was really here, being happy and enjoying life. To match this theme, Romanek's visual style often feels like the director's own personal homage to The Photograph, as the camera scans caressingly across a sea of snapshots – and Si's voiceover narration complements that feeling.

`One Hour Photo' is not a film for those who like their chills heavily laced with bloodshed, murder and mayhem. It is, rather, for those who can appreciate a quietly unsettling, yet strangely compassionate glimpse into the dark recesses of the troubled mind.

A promising directorial debut combined with yet another surprising performance by Robin Williams

[kavenga · 7/10 · 1 March 2003]

When the movie ended I was momentarily upset because I felt the climax was too vague. But the more I thought about it, the more things fell into place. If you like your movies, crystal clear and are expecting Hanibal Lecter, this picture is not for you. On the other hand, if you occasionally like something a little more cerebral, that perhaps makes you uncomfortable, and forces you to ponder optional realities, you're about to take a ride on a moral roller coaster. At the end, ask yourself, who is the bad guy and who is the hero?

SPOILER I felt that Sy took the pictures of his manager's daughter, not primarily to get back at him, but rather to purposely attract attention. He knew from his job that the pictures would result in the authorities being called. He wanted them on his trail because he wanted to lead them to the adulterous William Yorkin. When Nina Yorkin failed to react to the real photos of her philandering husband the way he'd hoped, Sy decides to give her some graphic `booster' shots, and give her husband a wake-up call at the same time. Only when Sy is sure that the police have arrived at the hotel does he attempt to make his escape, thereby insuring the police will also encounter Yorkin and Maya in their hotel. Thus, Sy makes it impossible for the Yorkins to go on living a lie. I feel Sy believed he was saving them for their sake and for their son. It's left open to you whether or not you think he succeeded.

As to theories about the snapshots at the end, I seem to recall the police said there were TWO rolls of film, one in Sy's bag and one still in the camera that he left in the hotel. At the beginning, the detective says `We processed the roll of film in your bag. They are not very pretty pictures' and `What did William Yorkin do to provoke you?' implying they are prints from the first roll that we see Sy take of Yorkin and Maya--but we never see those prints. Instead, at the end of the film, we see the prints from the roll that was still in the camera. But, anticipating the former, we are confused, stunned or surprised when we instead see the bizarre shots he took after he returned to his room. The director leaves it to the viewer to interpret the meaning of those.

As to the family photo that preceeds the credits, Robin Williams said (on the DVD) he felt it was Sy's dream of the way things might have been or could still be. The director said it was up to the viewer.

One Hour Photo did contain some flaws as noted her in other reviews. However, given that it was Mark Romanek's first screenplay I think we should cut him some slack, and look for something even better from him next time. My rating, 3.5 out of 5.

Great performance by Robin Williams

[amberia-16980 · 7/10 · 20 May 2020]

I so wanted to love this movie. As a movie it's great, the supporting cast isn't stellar but Robin Williams' performance is nothing short of captivating. The movie begins well but seems to lose its footing in the middle, and by the end it made me too uncomfortable to be able to enjoy it properly. It's a good watch but is quite sad and some of the scenes towards the climax of the film are definitely up there for creepiness.

Mark Romanek

[yusufpiskin · 7/10 · 6 December 2019]

This is possibly one of the best depictions of a sociopath I've ever seen.

Romanek's film is an intriguing study of the world of a man who does not really have an identity, but finds gratification of his own life in that of others. What makes this film so unsettling is the way Williams portrays him. He really manages to bring across a sense of realness that is truly amazing to watch. His slow descent into his own fantasy intermixed with the real world problems of his targets is paced and structured beautifully.

Romanek is a visual director. He does things in One Hour Photo with colours that are breathtaking to behold. He uses them with strong, bold strokes and thus gives us a film that is as engaging and tense as it is visually stunning.

In the end, though, this really is Williams' film. He is the epicentre of evertyhing and pulls off his role with apparent ease. And that's what makes it all the more convincing. This is not a forced performance where an actor acts creepy, this is one where the artist inhabits the role, making you forget who you're really watching. And for an actor like Williams to achieve that, well, that is a performance that deserves the highest praise.

Mark Romanek should make more films.

Another Example Of A Comedian Who Can Be Effectively Serious

[ccthemovieman-1 · 10/10 · 2 February 2006]

Robin Williams once again proves how good comedians can be at serious drama roles. Williams is especially good at playing creepy characters, as he has done several times in the last decade.

Here, he plays "Sy, the photo guy," a lonely employee in the photo department of a suburban Target/Walt-Mart//K-Mart-whatever who lives vicariously through a nice family, whose family pictures he has developed and printed for years. So, when Sy discovers the husband of that family is cheating, he takes it personally....and gets involved.

This was a fascinating portrait of a deranged man and a wonderfully photographed movie. The colors in here are astounding at times and the camera-work innovative with some neat angles. The suspense of the story builds and builds one gets that old film-noir feeling of impending doom.

This has a different ending, though, than most old film noirs, not exactly what the viewer might think will happen.

This is a film that, as far I know, never got much publicity, but it's a gem. Williams is outstanding in his role and the hour-and-a-half you invest in this movie flies by.

"No one ever takes a photograph of something they want to forget."

[classicsoncall · 7/10 · 14 October 2021]

You come to understand just how mentally unstable Robin Williams' character is, when Seymour Parrish returns home from work one evening and settles down to watch a little television. The cut to that full wall of pictures of the Yorkin family packs a gut blow to anyone who thinks Sy was just an overly friendly clerk at the local Savmart photo counter. His obsession played itself out in various ways, like reading the same book he spied in Mrs. Yorkin's (Connie Nielsen) possession, and watching son Jake's (Dylan Smith) soccer practice. I tried imagining the conversation he would have had with Jake's coach if the young boy hadn't told him not to bother; I would like to have seen that play out. I think it was Jake's refusal of the Neon Genesis figure that might have been Sy's turning point, a key moment that spurred him on to take things to the extreme he did. His obsession to become part of a family backfired to the extent that he virtually destroyed it. This was one of the times Robin Williams set aside his comic genius and decided to explore the mind of a psychopath in a creepy and chilling portrayal. To the extent that he brings out the shivers, you can be glad that his 'Uncle Sy' isn't part of your family.

Robin Williams deserved an Oscar nod

[safenoe · 9/10 · 23 October 2016]

No more Mork from Ork in this one. Here Robin Williams really shed his comedic persona to demonstrate his dramatic chops big time. Robin Williams had an impressive acting range, and his restrained role here really shines, and we're kept guessing until the end by what will happen.

It's an intriguing concept, the one hour photo guy who obsesses over the "perfect" family, and sort of brings himself into their lives, only to be ripped apart when the father embarks on an affair.

It's a shame Robin didn't get an Oscar nod for this, because he really excelled in this role, and he deserved better. Connie Nielsen also shines in this. This was two years after her performance in Gladiator.

Williams is excellent...movie is so-so

[preppy-3 · 7/10 · 9 September 2002]

A photo-processing man Seymour "Sy" Parrish (Robin Williams), becomes obsessed with a seemingly perfect family--the Yorkins. He's developed their photos for years and thinks he knows all about them. When he notices something is wrong however, he goes out of his way to correct it.

This is an OK movie with a great performance. The story is interesting, but we know next to nothing about the Yorkins--they're given very little depth. So when things go crazy at the end, you feel nothing. Also Connie Nielsen and Michael Vartan come across with no personality--it's not their fault--the script is against them. Also the movie gets very unpleasant at the end.

But it, more or less, works because of Willaims--he's just great as Sy...charming and creepy at the same time...he's just fantastic. Also the young son of the Yorkins played by Dylan Smith is very good...he acts just like a 9 year old should.

So it's somewhat worth seeing but no great shakes--except for Williams.

Strong performances save the day.

[dirk281 · 10/10 · 7 March 2003]

Yes, Robin Williams does steal the show. He's an underrated actor, who, given a good script can deliver a mind boggling performance. That's exactly what One hour photo is, a good script with brilliant performances. The whole cast does an excellent job of showing how the events of one deranged man can impact the lives of many. Let's get one thing straight, though, this not a mainstream movie. It is very much an independant film. If you don't like movies with little action or a low budget don't see this movie. This film is good because of its' strong performances and decent script. I must say, though, without Williams as the lead, this movie would not have been as good as it was.

Pretty believable

[CoverD · 7/10 · 26 April 2005]

I saw this movie both in theaters and on DVD, and I found it to be very entertaining both times. Not only does Robin Williams do a wonderful job at portraying the lovable, yet psychotic Sy Parrish, but he also makes the story so eerily believable that it is scary. The way in which Sy stalks the family throughout the film is downright disturbing, and something that you wouldn't expect from the cheerful clerk at the beginning of the film. All in all, I found this movie very interesting and I enjoyed it very much. Even when you find out what type of a sick freak Sy really is at the end of the film, you still feel sorry for him. I strongly recommend this movie to anyone looking for a good thriller, or a movie in which Robin Williams strays from his comedic style. 10/10 for me

Potentially good film ruined by dishonest, far too cute ending

[adrianovasconcelos · 5/10 · 7 August 2019]

ONE HOUR PHOTO boasts some pluses: Romanek's direction is competent, even if it goes adrift in the final minutes, with an ending that is much too cute and schmaltzy to ring truthful. Photography is absolutey first class, helping Williams deliver one of his finest performances.

Acting by the rest of the cast is supporting, and no particular role stands out, but certainly there are no downright poor performances.

The script is rather poor, but it has its moments, above all when Sy follows Mrs Yorkin's vehicle in expectation to see how she reacts to the photo showing her husband's affair with Maya Burson, and some terrifically frightening scenes, such as when, in his mind's eye, he wanders about the Yorkins' house, to the point of using their toilet to excrete.

Frankly, after all the buildup and the steadily sinister development of Sy's character, I was expecting a more psychologically substantiated ending, with the violence that tends to accompany such incidents. Instead, Sy loses his job, steals a lethal weapon, breaks the law in various ways... and he does all that just to show Mrs Yorkin that her husband deceives her and her son?

Nah, I don't buy it and I feel cheated by such a dishonest ending.

You do not get to learn whether Sy gets the appropriate prison sentence, all you see is Sy in the final still, with the Yorkins and their son. I cannot possibly see how that could happen in real wife, after he had intruded so criminally in their lives.

Mr. Williams Steals The Show In This Clever Little Chiller

[Chrysanthepop · 8 March 2008]

On face value, 'One Hour Photo' may seem like an average thriller but you'll be in for a surprise if you think so. It is a clever little movie that works both as a psychological thriller and an intriguing character study. Thankfully it does not have the absurd twists one has witnessed in the overrated 'Fatal Attraction' or nonsensical ones like in 'Single White Female' or 'The Hand That Rocks the Cable'. The storytelling is very coherent and the portrayal of the characters is very subtle.

This isn't a fast-paced thriller. Writer and director Romanek takes his time to tell the story but that does not make 'One Hour Photo' boring. On the contrary, it allows us to discover the shades of Seymour and allows the viewer to feel sympathy for but also be fear of him. Likewise, we also discover the family Seymour/Sy stalks. At first they appear to be like a happy American family but soon we see, through Seymour's point of view, that reality is something else. Romanek creates a very gloomy cold atmosphere. The viewer does feel Seymour's loneliness from the busy supermarket to his claustrophobic apartment. The film is very well shot as it highlights the gloominess, indifference and closed atmosphere. Romanek also approaches interesting themes about what photographs mean i.e. proof of ones existence (beautifully explained in the film). While people take pictures of happy moments, their reality is something else.

Coming to the performances, what would 'One Hour Photo' be without Robin Williams? The actor is in a completely different form and he does an excellently downplays Sy. Sy is gentle, polite, pathetic and creepy. Williams really brings a humane quality to the character rather than portray him as the clichéd stalker. Nielsen and Vartan are good too. La Salle and Cole give sufficient support. But, in the end, it's a one man show that belongs to Mr. Williams.

There are a few very minor flaws such as a few scenes where reality is suspended but overall this is a cleverly chilling film that deserves to be watched but do not expect lots of murder, bloodshed, or silly twists like boiling a live rabbit.

Williams' creepy turn a success

[SmileysWorld · 7/10 · 14 July 2004]

I always knew that Robin Williams could do more than make us laugh.I knew that if he wanted to,he could scare us to death.Williams' turn as the loner willing to do bad things all in the name of right is done with dead on precision.There was always a versatility beneath the comedic improvisation we know him for.Williams executed this role with flying colors.So well,in fact,that I often forgot he was merely acting.While the supporting cast has their moments,this film is all Williams.His character is comparable to a certain deranged cab driver played by Robert DeNiro all those years ago.Though DeNiro's performance will never be topped,Williams work here ranks right up there.Well worth watching

Mental (literally)

[frosty-44431 · 7/10 · 10 February 2021]

I was surprised to see Robin play a character like this and I remember when I first watched it, it gave me the chills. His character is so unpredictable you don't know how fare he would go.

Robin Williams at his best

[damonshackleton · 7/10 · 23 July 2021]

A haunting performance from Robin Williams at his best.

Williams Sells It

[Hitchcoc · 8/10 · 22 May 2012]

Robin Williams, one of the funniest people on the planet, has made a career of playing some very unpleasant people. In this one, he works at a Fotomat (now nearly extinct) and become the stalker of a family that brings their films to him for development. Not only does he stalk them, he knows everything about them, their birthday parties, their fights, their sporting events, etc. Of course, at some point he is going to inject himself into their lives. Fortunately, the scrip writers used some restraint and made this play out the way it should have (I won't' spoil this for you). Suffice it to say that the trip is a scary one and we can't help but feel our flesh creep a bit. We also are made aware of his loneliness and his dysfunctional existence. He is a multidimensional figure, as quirky as one can get. After seeing "The Social Network" recently, I have to also say that we have created a societal voyeurism in our culture. This further shows how fragile our privacy is and how we are willing to sell it to the highest bidder.

Williams is Chillingly Different!

[Sylviastel · 7/10 · 2 May 2007]

Robin Williams is better known for his comedy than his dramatic skills but he sure proves his acting range can stretch from doing silly comedies to doing thrillers. His character, Sy Parrish, is a disturbed man. He's lonely in the first place. He really has nobody but becomes fixated on this family while working at a one hour photo booth. Robin Williams can make you feel sorry and empathy for this man who is obviously desperate for a family of his own or something to connect with in life. Sy gets desperate and does things aren't so forgivable or forgettable. His sad life is brought brilliantly to the screen by Robin Williams who is almost unrecognizable in this role. He really can act beyond the silliness and develop his Juillard talents beyond comedies.

A chilling but yet sad film.

[morrowman2 · 8/10 · 8 May 2005]

After watching this film about 3 or 4 times I really understood the point. SY Parrish was truly a guy that I really felt sorry for because it was quite obvious that he had no one in his life. I strongly believe that even though SY got carried away with his obsession with the Yorkin family I feel that he truly cared about Jake and his mom. That is why I understood why he did some of what he did. SY however went about it the wrong way but all in all SY in a weird sense was trying to prove to Jake's Mother that Mr. Yorkin (Jake's Father) was a jerk, and I think Mr. Yorkin got what he deserved at the Hotel, the scare of his life to wake his A** up and make him see how he was hurting his family which at the end of this film it was clear that Mr. Yorkin felt bad about having the affair in the first place. The bottom line is this, even though this Movie was a thriller it was also sad and depressing-because I know people who are sad and lonely like SY and that is why my heart truly went out to SY because all he wanted was someone in his life to care about him. We all need to be loved.

Williams performance hits the mark

[rosscinema · 7/10 · 15 September 2002]

Not only is Robin Williams performance very good but this film is extremely well photographed. I personally enjoyed the shots of Williams character in his apartment and everything is in its proper place which reflects the sterilized environment he lives in. I'm also thankful that the script doesn't go over the top. It stays believable without going through the cliche hollywood dramatics. Not a great film or anything that is truly special but a pretty well made film and very well acted.

Haunting and depressing experience.

[Keemshave · 8/10 · 3 October 2019]

A realistic portrayal of loneliness and the effect it can have on a person. Robin Williams is outstanding here and carrys the film. An expertly crafted drama that will send shivers down your spine.

Never doubt Robin Williams' sinister abilities in movies.

[lee_eisenberg · 7/10 · 20 September 2005]

Following the sappy box office duds "Jakob the Liar" and "Bicentennial Man", Robin Williams probably decided that he needed to do some darker roles. Therefore, you might say that 2002 was his comeback year: he not only did his first tour in fifteen years (which I saw) - he also made some good movie choices, with "Death to Smoochy" and "One Hour Photo" (I still haven't seen "Insomnia"). In "One Hour Photo", he plays photo developer Sy Parrish. Sy seems like a pretty routine person. But beneath that nondescript exterior lies something totally different. Sy has been developing the Yorkins' pictures for a long time, to the point where he is getting very interested in them. And by "interested", I mean "a lot more interested that most people would prefer". By which I mean that he's starting to spy on them.

Yes, it all sounds pretty creepy, but the movie does end on a good note. No matter how you interpret it, it just goes to show that no one truly knows anybody. And anyway, it was good to see Robin Williams doing a new kind of role.

pretentious crap

[eb_redbaron · 1/10 · 30 October 2002]

the movie is an exercise in tedious story-telling, and a boring story at that. every second shot seems to be a close-up of mr. williams, with his bleached and thinned hair and the awkward glasses every psychopath needs. the fact that mr. williams character is a lonely and depressed man is made abundantly clear by a series of boring "staged" shots of him sitting alone in an empty room, whether its the cafeteria or his own home.

the picure-book perfect family could have been interesting, but the director and/or screenwriter obviously couldnt decide at which point to show the "real" family situation behind the happy facade. first we see the parents and their son cuddling on the sofa while looking at their pictures of the sons birthday party. the next scene is a tender good-night scene between mother and son where she states that "not everybody is as lucky as we are." however, the very next time we see the family, the parents are having a shouting match over money and personal issues, while the son watches and runs off crying. that scene seems so misplaced and badly directed that from that point onwards the whole family structure is so uninteresting that one couldnt care less what happens to them.

mr. williams actions in the hotel room towards the end of the movie seem furthermore totally unrelated to the trauma he obviously suffered as a child. his idea of punishment projected to an adult couple just doesnt make sense regarding his own past. it is just as incompetent as the whole story. and then there are the photos themselves. i just kept asking myself, if the family consists of three people, who then is always taking those pictures of the three? the same goes for the holiday pictures of the husband. did they hire a personal photographer to come along with them on the holiday so they could get those perfect couple shots on the beach? and the kid of course always considered the importance of complementary colors when shooting his pics: so that a bright blue teddy bear sits next to an orange balloon and that a pair of red rubber boots are seen standing on a very green lawn! all those pictures are so "art-directed" and staged that they in themselves rob the movie of all credibilty.