Max Morden (Ciaran Hinds) has lost his wife Anna (Sinead Cusack) to cancer, and tries to compensate by staying at a lonely hotel presided over by Miss Vavasour (Charlotte Rampling). During his childhood, he stayed there with his family, when the hotel was a large house with chalets attached; he stayed at the chalets, and befriended the family of a husband (Rufus Sewell), wife, two children and their "minder" Rose (Bonnie Wright). The older Max spends much of his time recalling that period, while at the same time reliving his last days with Anna. He feels a terrible sense of loss: during his childhood he experienced the first pangs of love and death - feelings that were repeated when cancer claimed his wife. Photographed in atmospheric colors by John Conroy - bright for the childhood sequences, dark for the present-day moments involving the aging Max, THE SEA is a poignant meditation on the complexities of the past. However much Max might have wanted to change what happened, all he can do is to relive it in his mind; sometimes it has the habit of repeating itself (as seen, for instance, in the last exchanges he has with Anna before she passes away). Stephen Brown's narrative unfolds at a slow pace, with plenty of close-ups of the adult Max's tortured face as he tries - and fails - to cope with his loss. The three-leveled plot - childhood, Anna's death, and the adult Max in the hotel - seems a little complex at first, but resolves itself at the end when we discover the true identity of Miss Vavasour and the mysterious pseudo-military man Blunden (Karl Johnson), the only other guest staying at the hotel. Some of the individual sequences are almost achingly poignant, especially the moment where Max lies on the beach next to the seashore in a vain attempt to commit suicide. Shot on a low budget, with a screenplay by John Banville (from his own novel), THE SEA offers a convincing insight into the mind of a tortured soul.
10 Reviews
In a rather strange tale, you'll watch an old man grieve as well as witness his time with a rather strange affluent family when he was a child.
Amari-Sali14 September 2014
Warning: Spoilers
Between Bonnie Wright from After the Dark, and of course Harry Potter; Ciaran Hinds from Game of Thrones and Political Animals; and then Natascha McElhone of Californication fame; I was more than ready for this movie. If just because they seemed like a weird mix of a cast, and I had trust in them. Which, after seeing the film hasn't faltered, though I do think in the future I need to remember that normal, everyday, type of media isn't really what these folks go after.
Characters & Story
Max (Matthew Dillon & Ciaran Hinds) is the focus of the movie and we find ourselves jumping from present day, when he mourns the death of his wife Anna (Sinead Cusack), and his younger years when he would hang around the Grace family. Now, in his older years he is a downtrodden, alcoholic, writer who seems to be taking his wife's death hard to the point of potential suicide. However, in his younger years, as the son of working class parents it seems life was only a smidgen better. Though with his younger years taking place over a summer, in which we watch him fall for Connie Grace (Natascha McElhone) and her daughter Chloe (Missy Keating), as well as deal with Connie's odd husband Carlo (Rufus Sewell) and mute son Myles (Padhraig Parkinson), there is a constant wonder of why the house where the Grace family lived, which is now owned by Miss Vavasour (Charlotte Rampling), is talked about as if it contains nothing but bad memories?
Praise
When it came to what happened in Max's past, with Dillon at the reigns, I found myself quite interested with what went on. If just because the Grace family, and nanny Rose (Bonnie Wright), presented the type of life and story which made me wish that was the sole focus of the film. If just because they all were so weird. Connie is this lovable free spirit who, possibly like her husband, was having an affair, then there is Myles and Chloe who seemed like children straight from one of The Omen movies. For with Myles seemingly being capable of speaking, but choosing not to, and acting like a little monster Chloe has some sort of control over, you often are left scratching your head and am hoping everything gets explained. Especially when it comes to Chloe's relationship with Max which I guess was just supposed to be a summer fling but, again, there is so many weird things going on when it comes to the Grace family that honestly, sometimes you just feel like questioning their motives too much is futile.
Criticism
However, when it comes to the later years, of which Hinds takes over, any interest I had in the film quickly dissipated due to older Max having a boring story and coming off rather uninteresting. For one, Max is a miserable drunk and his story and character feels like it lacks the depth necessary for you to care about him. Which I found strange since the younger years are so intriguing. But with there being no reason given to care about Anna, Max's daughter Claire (Ruth Bradley), Miss Vavasour, Alfred (Karl Johnson), and especially older Max, it makes the time you spend with older Max seem like filler. For even with it being shown why he has become an alcoholic, and then the mystery dealing with why Miss Vavasour's home contains sad memories for Max, honestly Max just isn't likable, nor interesting enough, to care about in his older form.
Overall: TV Viewing
I believe if this film more so focused on young Max, or solely on him, this may have been one of those films I would have a hard time choosing between TV Viewing and Worth Seeing. However, the time spent with older Max isn't memorable, and quickly leads you to find distractions until his younger self appears once more on screen. Thus leading to a firm TV Viewing label for the Grace family, and Dillon as Max, is what makes this movie appealing. For as weird, and sort of messed up, as the Grace family is, that brings the film its intrigue which helps balance off the less likable parts of the movie's story.
Characters & Story
Max (Matthew Dillon & Ciaran Hinds) is the focus of the movie and we find ourselves jumping from present day, when he mourns the death of his wife Anna (Sinead Cusack), and his younger years when he would hang around the Grace family. Now, in his older years he is a downtrodden, alcoholic, writer who seems to be taking his wife's death hard to the point of potential suicide. However, in his younger years, as the son of working class parents it seems life was only a smidgen better. Though with his younger years taking place over a summer, in which we watch him fall for Connie Grace (Natascha McElhone) and her daughter Chloe (Missy Keating), as well as deal with Connie's odd husband Carlo (Rufus Sewell) and mute son Myles (Padhraig Parkinson), there is a constant wonder of why the house where the Grace family lived, which is now owned by Miss Vavasour (Charlotte Rampling), is talked about as if it contains nothing but bad memories?
Praise
When it came to what happened in Max's past, with Dillon at the reigns, I found myself quite interested with what went on. If just because the Grace family, and nanny Rose (Bonnie Wright), presented the type of life and story which made me wish that was the sole focus of the film. If just because they all were so weird. Connie is this lovable free spirit who, possibly like her husband, was having an affair, then there is Myles and Chloe who seemed like children straight from one of The Omen movies. For with Myles seemingly being capable of speaking, but choosing not to, and acting like a little monster Chloe has some sort of control over, you often are left scratching your head and am hoping everything gets explained. Especially when it comes to Chloe's relationship with Max which I guess was just supposed to be a summer fling but, again, there is so many weird things going on when it comes to the Grace family that honestly, sometimes you just feel like questioning their motives too much is futile.
Criticism
However, when it comes to the later years, of which Hinds takes over, any interest I had in the film quickly dissipated due to older Max having a boring story and coming off rather uninteresting. For one, Max is a miserable drunk and his story and character feels like it lacks the depth necessary for you to care about him. Which I found strange since the younger years are so intriguing. But with there being no reason given to care about Anna, Max's daughter Claire (Ruth Bradley), Miss Vavasour, Alfred (Karl Johnson), and especially older Max, it makes the time you spend with older Max seem like filler. For even with it being shown why he has become an alcoholic, and then the mystery dealing with why Miss Vavasour's home contains sad memories for Max, honestly Max just isn't likable, nor interesting enough, to care about in his older form.
Overall: TV Viewing
I believe if this film more so focused on young Max, or solely on him, this may have been one of those films I would have a hard time choosing between TV Viewing and Worth Seeing. However, the time spent with older Max isn't memorable, and quickly leads you to find distractions until his younger self appears once more on screen. Thus leading to a firm TV Viewing label for the Grace family, and Dillon as Max, is what makes this movie appealing. For as weird, and sort of messed up, as the Grace family is, that brings the film its intrigue which helps balance off the less likable parts of the movie's story.
Ultimately a simple, well-made film
stuart-comerford18 April 2014
This film adaptation of John Banville's book by the same name, is irritatingly compelling and ultimately lacklustre in a really intriguingly enjoyable kind of way
that probably doesn't make sense right now, but by the end of the film you'll understand, or at least begin to understand – much like the plot of the film, which starts off slow but builds to a very pleasing climax.
Initially it's somewhat up and down - getting lost in its own narrative at times, with no clear intention of where the story's heading. Once we become invested in the characters they begin to reveal the humanity of the story which is a very emotional recounting of the glory of past life experiences, and the harrowing reality of the progression of life for our main character, Max Morden.
Beautiful warm and cold colour grades serve to separate the cheerful, innocent flashbacks from the much bleaker present day narrative. Every image and colour is used effectively to add to the story, and coupled with engaging performances from every actor present, this makes for a seamless viewing experience that's unique and enjoyable – although somewhat slow in its pacing at times. Where the film really struggles is in its efforts to manage the various narrative strands and how they play with each other. Unfortunately, it fails to uphold each strand all the time – sometimes leaving you wishing that the next flashback could come sooner, rather than later.
Simplicity is at the foundation of any creation, and it's from there you build on the layers to develop the project – "The Sea" skipped a few levels and tried to accomplish too much in its narrative at times, and while ultimately a simple, very well made film, it loses focus and dips too often to maintain the fantastic tone it sets for itself.
Initially it's somewhat up and down - getting lost in its own narrative at times, with no clear intention of where the story's heading. Once we become invested in the characters they begin to reveal the humanity of the story which is a very emotional recounting of the glory of past life experiences, and the harrowing reality of the progression of life for our main character, Max Morden.
Beautiful warm and cold colour grades serve to separate the cheerful, innocent flashbacks from the much bleaker present day narrative. Every image and colour is used effectively to add to the story, and coupled with engaging performances from every actor present, this makes for a seamless viewing experience that's unique and enjoyable – although somewhat slow in its pacing at times. Where the film really struggles is in its efforts to manage the various narrative strands and how they play with each other. Unfortunately, it fails to uphold each strand all the time – sometimes leaving you wishing that the next flashback could come sooner, rather than later.
Simplicity is at the foundation of any creation, and it's from there you build on the layers to develop the project – "The Sea" skipped a few levels and tried to accomplish too much in its narrative at times, and while ultimately a simple, very well made film, it loses focus and dips too often to maintain the fantastic tone it sets for itself.
Oh, I don't like to be beside the seaside...
miss_lady_ice-853-6087008 June 2014
The Sea is comprised of three different threads, each thread containing respected British actors. In the modern day we have art historian Max Morden (Ciarin Hinds), a gloomy middle-aged Irishman who is predictably an alcoholic widower. He's visiting the place where he used to holiday as a child. It's run by poised landlady and mystery woman Miss Vavasour (Charlotte Rampling). In the recent past, there is Max's tending after his wife who is dying of cancer (Sinead Cusack). And in the very past (the 1970s) we see twelve-year-old Max's holiday romance and the wealthy family he spends his time with, the eccentric patriarch Carlo (Rufus Sewell) and his yummy mummy wife Connie (Natasha McElhone), who gets the young boy's hormones stirring.
From the looks of the cinematography, you'd think that this was a Chekhovian tragedy. The present is shot in horrible blue and grey tones, both reflecting and emphasising the dullness of the events. Hinds' portrayal of Max (Matthew Dillon) is unsympathetic; he comes across as a gloomy old bore, dragging down the narrative. Sure, a suicidal protagonist isn't going to be cheery but Colin Firth pulls it off nicely in A Single Man, showing a man who is clearly lonely and consumed by grief but doesn't wallow in his own misery.
Equally as boring is the flashbacks to his wife, which serve to make the whole affair even more gloomy and weepy. It's completely unnecessary to show his wife and it slows down the only narrative which actually has some potential: Max's boyhood.
These days were happy days so everything is artificially sunny. Dillon does a good job as the charming boy with a crush and Missy Keating as the family's daughter, is cruel and flirtatious. The film nicely shows Max's budding sexual desires without being coy or tasteless. Another nice touch is how the affairs of Carlo and Connie are seen through the boy's eyes. He can only partially comprehend them; actually with Connie's he can barely comprehend it, so we only get a glimpse. The parents are written as charicaturish bohemians, particularly Carlo, so whilst Rufus Sewell doesn't really add any deeper layers, he is not entirely to blame for his performance.
I don't know why the duller modern story is made to take precedence over the much more interesting (if perhaps well-trodden ground) past. None of the narratives really string together; there's a sense of faux-mystery throughout, with the underlying sense that the constant meandering and 'leisurely' pace won't come together into anything satisfying. The end 'twist' is not really a surprise; the surprise is that it is presented as a surprise. And the conclusion of the childhood narrative comes out of nowhere and has no apparent motivation.
Lack of motivation is present in all of the characters; a fault of John Banville's screenplay. He is adapting his own novel so it's odd that the writing should be so weak. It feels as if he copy-pasted the small percentage of dialogue in his novel and left it at that, without translating the prose into cinematic terms. Relationships aren't fleshed out; nothing is mined beyond the surface. We are told that Max is writing a book on Pierre Bonhard but we never see anything relating to that so the detail feels pointless. Max's daughter wanders in pointlessly to tell her dad to stop being gloomy and alcoholic; not that he's going to listen to that.
This is really a melodramatic weepy masquerading as an art film about grief and memory. If you're searching for the latter, try A Single Man; try Atonement if you're looking for an exploration of sexuality through a child's eyes. Brideshead Revisited (the TV series; avoid the film) is a great story of an individual being lured by an eccentric and luxurious family. Summer Interlude is a charming and poetic study of idyllic childhood shattered by tragedy. These are only a handful of films similar to The Sea and yet superior.
From the looks of the cinematography, you'd think that this was a Chekhovian tragedy. The present is shot in horrible blue and grey tones, both reflecting and emphasising the dullness of the events. Hinds' portrayal of Max (Matthew Dillon) is unsympathetic; he comes across as a gloomy old bore, dragging down the narrative. Sure, a suicidal protagonist isn't going to be cheery but Colin Firth pulls it off nicely in A Single Man, showing a man who is clearly lonely and consumed by grief but doesn't wallow in his own misery.
Equally as boring is the flashbacks to his wife, which serve to make the whole affair even more gloomy and weepy. It's completely unnecessary to show his wife and it slows down the only narrative which actually has some potential: Max's boyhood.
These days were happy days so everything is artificially sunny. Dillon does a good job as the charming boy with a crush and Missy Keating as the family's daughter, is cruel and flirtatious. The film nicely shows Max's budding sexual desires without being coy or tasteless. Another nice touch is how the affairs of Carlo and Connie are seen through the boy's eyes. He can only partially comprehend them; actually with Connie's he can barely comprehend it, so we only get a glimpse. The parents are written as charicaturish bohemians, particularly Carlo, so whilst Rufus Sewell doesn't really add any deeper layers, he is not entirely to blame for his performance.
I don't know why the duller modern story is made to take precedence over the much more interesting (if perhaps well-trodden ground) past. None of the narratives really string together; there's a sense of faux-mystery throughout, with the underlying sense that the constant meandering and 'leisurely' pace won't come together into anything satisfying. The end 'twist' is not really a surprise; the surprise is that it is presented as a surprise. And the conclusion of the childhood narrative comes out of nowhere and has no apparent motivation.
Lack of motivation is present in all of the characters; a fault of John Banville's screenplay. He is adapting his own novel so it's odd that the writing should be so weak. It feels as if he copy-pasted the small percentage of dialogue in his novel and left it at that, without translating the prose into cinematic terms. Relationships aren't fleshed out; nothing is mined beyond the surface. We are told that Max is writing a book on Pierre Bonhard but we never see anything relating to that so the detail feels pointless. Max's daughter wanders in pointlessly to tell her dad to stop being gloomy and alcoholic; not that he's going to listen to that.
This is really a melodramatic weepy masquerading as an art film about grief and memory. If you're searching for the latter, try A Single Man; try Atonement if you're looking for an exploration of sexuality through a child's eyes. Brideshead Revisited (the TV series; avoid the film) is a great story of an individual being lured by an eccentric and luxurious family. Summer Interlude is a charming and poetic study of idyllic childhood shattered by tragedy. These are only a handful of films similar to The Sea and yet superior.
a bit jumbled
SnoopyStyle9 December 2018
Following the death of his wife, Max Morden (Ciarán Hinds) returns to his childhood seaside world. He stays with Miss Vavasour (Charlotte Rampling) from his past and a trauma from childhood comes rushing back. As a child, he befriends twins Chloe Grace and Myles Grace from the town. Myles is mute and Chloe is mercurial. They have a rambunctious house with parents Connie (Natascha McElhone) and Carlo (Rufus Sewell) along with young nanny Rose.
The present day story is a bit too jumbled. Certainly, the film is doing something with memories and holding back a big reveal. The back and forth between the different times with the accompanying confusing rekindled memories is a big hurdle. The present day flow is compromised. On the other hand, the past story is very compelling. I like the weird kids, the weird parents, and the mysterious Rose situation. It would be better with a simplified present day reveal and a straight forward past narrative story.
The present day story is a bit too jumbled. Certainly, the film is doing something with memories and holding back a big reveal. The back and forth between the different times with the accompanying confusing rekindled memories is a big hurdle. The present day flow is compromised. On the other hand, the past story is very compelling. I like the weird kids, the weird parents, and the mysterious Rose situation. It would be better with a simplified present day reveal and a straight forward past narrative story.
Stagnant Waters. ♦ Grade D-
nairtejas17 October 2016
Man Booker Prize-winning novels are too hard to adapt, and except for a few hits like Schindler's List (1993) and Life of Pi (2012), all adaptations are either dull or totally a mess. This tragic drama is one such non-electrifying film.
Max Morden (Ciarán Hinds) is an aged art historian who has come back to the seaside place where he used to spend his vacations as a child. He is currently grieving the loss of a loved one and is also hoping to find peace from a childhood incident which made him the way he is now. The story follows Morden's life as flashbacks of his time with his newfound friends, a twin siblings, flip flop between the episodes of present tense.
Hinds is the only aspect of the film which is appealing. The supporting characters are too abrupt in their approach, making the film look like it was conceived for people who have already read the book. Even for those who have, the lackluster, non-linear screenplay will induce ennui, just enough to put them to sleep if they are not startled by the sudden, repetitive crescendos towards the end. Banville clearly fails as a scriptwriter, trying to correct some of his novel's mistakes by adding extra salt to the already salty water. Brown's direction is also at fault, as the cast often look puzzled in their own characters' skins. The young actor who plays a young Morden is terrible.
The Sea is an average book exploring loss and grief and how a man tries and miserably fails to fix up his life post the events. The film is a lot less convincing, mostly because the sliding sequences just do not bring about any point that the author might have originally tried to convey. Read the book and move on to Kiran Desai's "The Inheritance of Loss".
BOTTOM LINE: Stephen Brown's "The Sea" is a lowbrow adaptation of a lowbrow fiction which can be best understood by reading its original source. Wait for TV premiere.
Can be watched with a typical Indian family? NO
Max Morden (Ciarán Hinds) is an aged art historian who has come back to the seaside place where he used to spend his vacations as a child. He is currently grieving the loss of a loved one and is also hoping to find peace from a childhood incident which made him the way he is now. The story follows Morden's life as flashbacks of his time with his newfound friends, a twin siblings, flip flop between the episodes of present tense.
Hinds is the only aspect of the film which is appealing. The supporting characters are too abrupt in their approach, making the film look like it was conceived for people who have already read the book. Even for those who have, the lackluster, non-linear screenplay will induce ennui, just enough to put them to sleep if they are not startled by the sudden, repetitive crescendos towards the end. Banville clearly fails as a scriptwriter, trying to correct some of his novel's mistakes by adding extra salt to the already salty water. Brown's direction is also at fault, as the cast often look puzzled in their own characters' skins. The young actor who plays a young Morden is terrible.
The Sea is an average book exploring loss and grief and how a man tries and miserably fails to fix up his life post the events. The film is a lot less convincing, mostly because the sliding sequences just do not bring about any point that the author might have originally tried to convey. Read the book and move on to Kiran Desai's "The Inheritance of Loss".
BOTTOM LINE: Stephen Brown's "The Sea" is a lowbrow adaptation of a lowbrow fiction which can be best understood by reading its original source. Wait for TV premiere.
Can be watched with a typical Indian family? NO
A life, revisited
sgmi-5357924 May 2023
Lost in a fog of alcohol and memory pain, Max returns to the seaside town where his family summered when he was a boy. Told across three timelines, we feel the jumble of his thoughts and the hopelessness of his present situation. Most compelling are the flashbacks of his youth, where he befriends a well to do family, and becomes entangled with their children, developing a crush on their young daughter. There's some beautiful cinematography, and parts of a fascinating tale, but overall this is a little muddled to be a true recommendation. The alternating timelines are handled well, but I guess the viewer is a little shortchanged, in wanting more of a firm resolution. Worth a mild recommendation, for the solid acting and interesting premise. Thumbs in the middle.
A magnificent elegiac poem set on the Wexford coast
robert-temple-16 August 2014
It is difficult to believe that this is the first feature film directed by Stephen Brown (whoever he is, as nothing is recorded of him on IMDb). Brown shows unmistakable signs of being a master even though he is so new. At the beginning of his directorial career, he is already far ahead of so many directors who have been at it for years. Since it cannot be experience, it must be talent. The screenplay is written by John Banville, based on his own novel. Banville comes from County Wexford in Ireland, where this film was entirely set and shot on location on the Wexford coast, which is on the eastern side of Ireland, facing Wales across the Irish Sea. Indeed, it will surprise no one that it was made on the Wexford coast, considering the title of the film and that the sea is in a way the central character in the story. The lead in the film is played by the actor Ciaran Hinds. I wish I knew how to pronounce his Irish first name, but until corrected, I shall call him 'Kieran' when speaking. He has appeared in 91 films and is well known as a supporting actor. But here he gives a bravura performance in a lead role, finely judged, perfectly modulated, and shows what stuff he is really made of. He clearly always had it in him, and at last he got to prove it. Well done, Hinds! He is well supported by Sinead Cusack, Charlotte Rampling, Rufus Sewell, and the dazzling Natascha McElhone, with a smile made of sunlight (and often shot in it). Cusack is filmed dying of cancer, and it takes a brave actress devoted to her craft to allow herself to look like that, and to speak wistful lines with ironical humour at the same time. Rampling, the master of the inscrutable, is, well you guessed it, inscrutable. Her last line in the film makes quite an impact, though before she spoke it, I had guessed. Sewell is called upon to play a rather flippant fellow, and has no trouble in doing so. A great deal of the film takes the form of flashbacks, and the child actors in the film are very good: Matthew Dillon plays Young Max (Hinds being old Max), and Missy Keating plays the girl twin, but I fear I am unsure of the name of the boy who plays the boy twin, as these two characters are not named on the IMDb cast list. The film and Hinds are haunted by the most bizarre and horrible tragedy, and an air of ravaging nostalgia is evoked brilliantly by the director. The main action of the film takes place after the death of his wife (Cusack), when Hinds revisits a seaside town on the Wexford coast, where he had had the memorable experiences of his youth, which shaped his entire life. We see these experiences and events in vivid flashbacks, and we come to understand fully why they have haunted Hinds for the rest of his life. The film is not a cheerful one, and anyone feeling depressed, or grieving, should probably not watch it. For those who can survive watching a film with a great deal of sadness in it, it is the equivalent of a major literary work, and of course it is derived from a novel scripted by the novelist himself, so it retains all of its high literary qualities, which are so well served by the director. It is certainly a high point in Irish cinema. I await the next work by Stephen Brown with great expectations. As for John Banville, he has been producing important work for the cinema for some time now. He did the excellent screenplay for THE LAST September (1999, see my review), for ALBERT NOBBS (2011), and for the excellent Irish TV series QUIRKE, based on his own novel (2014, see my forthcoming review). He has also worked with the talented Irish director Thaddeus O'Sullivan (writing SEASCAPE, 1994), who directed the amazing THE HEART OF ME (2002, see my review) as well as the superb series SINGLE-HANDED (2010, see my review). Those creative Irish can get up to things, and we had better keep on our eye on them. And now there is a new one, Stephen Brown, to watch out for.
Pretty lil' diamond
juanmuscle10 June 2016
By lil' I mean not too many characters, so the few shown kindled a spark in the viewer to the warm and sensitive nature of the ones shewed. The background kept harking back to a grey and gloomy setting while in its stead we are back in the present and things look colorful and teeming with delicious flavor. The pall that seems to mingle with the theme really never is truly diminished yet the candor of the story really shines through and gives you a joyful almost singular start. You really want to see what this is all about but not so much you want to escape from the protagonists sojourn into his own profound escape. I just get a sense that things didn't pan out the way he hoped but in the bargain he seemed to get a lot more. Very introspective, very cold and bleak at times while others the moment seems to linger and resonate with all that is living in the moment. One line that strikes and jolts one out of apathy and self-imposed resignation, when his wife tells him, 'You are always living in the past'. It seems he was always so worried about all the possible things that could happen he sometimes forgot to simply let go and really give it your all in the nonce. The scenery was ample and sweet warming me at times and at others giving me slight chills; the score was eerie at moments and others it really tugged at my heartstrings pulling me thither and hither, whilst all the ancillary characters enriched the natural progression of the plot with stylistic courses; and finally a culminating to a glorious ending which for some reason seems to be the very beginning of the protagonist... Cool flix, recommend it.
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