Review: The Road (2009) ****
John Hillcoat’s adaptation of Cormac McCarthy’s The Road is a bleak, despairing and haunting trek across a burned out post-apocalyptic landscape where a father and his son cling to each other and to a ragged shred of hope for salvation lying somewhere beyond the horizon. It’s a difficult journey for both the characters and the audience, but not one without its rewards. In some ways a horror story and in some ways a classically suspenseful chase story, The Road strips you down before building to an emotional climax that is among the most moving and heartfelt of the year.
Though we’re only given tiny hints at what might have caused the destruction, we witness first hand the effect The End has had on the survivors. There is no vegetation or animal life and the remaining humans rove around like animals in malevolent packs, picking through the remains of civilization where they find it or murdering and eating people where they don’t. With the sun permanently shrouded by clouds or by ash and smoke, it’s a monochrome world broken up only by occasional rust colored stains of blood. Amid this ashen hell on Earth, a father must not only keep his young son alive, he must also preserve the boy’s humanity and essential goodness.
With his grubby, weathered face, wild man’s beard and haunted gray eyes, Viggo Mortensen is the father. It’s a terrific, natural performance full of warmth in a world without any. Though their current struggle is harsh and unforgiving, Mortensen remembers his life when the world was still soft and alive. There are also occasional moments in the present when he’s allowed respite and he can let down his guard. It’s in these moments Mortensen reveals the kind of father he could’ve been in an ordinary world.
Kodi Smit-McPhee meanwhile is fine as the boy. He’s believable as an innocent being raised in a world that has left innocence behind and he avoids the precociousness that infects so many other American child performances. Rounding out the cast, Robert Duvall, Charlize Theron, Garret Dillahunt, Guy Pearce and Molly Parker are also effective in tiny parts.
Unleavened by anything like humor and featuring a spare, downbeat score by Nick Cave and Warren Ellis, The Road is admittedly an unrelentingly grim couple of hours that won’t appeal to everyone. Unlike Hillcoat’s The Proposition however, there’s meaning behind the despair. It hones a father and son relationship to its barest and most essential components and casts it in sharp relief. More than a horror story and more than a story about the end of the world, The Road is ultimately about the preservation of civilization in the love between a man and his child.
The Road. USA 2009. Directed by John Hillcoat. Screenplay by Joe Penhall based upon the novel by Cormac McCarthy. Cinematography by Javier Aguirresarobe. Music score by Nick Cave and Warren Ellis. Edited by Jon Gregory. Starring Viggo Mortensen, Kodi Smit-McPhee, Robert Duvall, Charlize Theron, Guy Pearce, Molly Parker and Garret Dillahunt. 1 hour 50 minutes. MPAA rated R for some violence, disturbing images and language. 4 stars (out of 5)
Filed under: Reviews
Tags: Charlize Theron, Cormac McCarthy, Garret Dillahunt, Guy Pearce, Javier Aguirresarobe, Joe Penhall, John Hillcoat, Jon Gregory, Kodi Smit-McPhee, Molly Parker, Nick Cave, Robert Duvall, The Road, Viggo Mortensen, Warren Ellis
Whew! I’m awfully glad to hear your report. This book is probably one of my all-time favorites for the sheer horrific beauty and bleakness of the writing. It reads almost like poetry, sparse words dense with imagery and impact. It sounds like at the very least a solid adaptation of difficult material.
I know it’s not exactly a rousing audience-pleaser like Slumdog, but if it’s as good as you think I hope its grimness doesn’t keep the awards away.
Also: Nice writin’.
Ditto re the fine writing Craig (e.g. “It’s a terrific, natural performance full of warmth in a world without any” ). I had the same response to the book as jennybee and I’ve been nervous about Hollywood diluting its power in the translation to screen. You’ve given me cause for encouragement.
Although I haven’t read the book, my guess is that its essence has been transferred to film intact. I saw this film today and agree with Craig as to its high quality.
The spareness of the writing — in terms of dialogue — is artful. The landscapes, colors, and images are beautiful and poetic. The performances are flawless and without artifice. I’m impressed by the power and sense of character that Mortenson conveys — sometimes with only a barely audible whisper.
Despite the film’s story line, the supposed downbeat subject matter and tone of this film made no negative impact on me. I found it quite warm and personal in many ways — any comparison to a Mad Max-type experience would be an ill fit with The Road.
“It hones a father and son relationship to its barest and most essential components and casts it in sharp relief. ” This is so true, Craig. I think a holiday release is quite apt for The Road — it’s really a family film at its heart.
I haven’t read the novel so I can’t say if it captured McCarthy’s particular magic, but as a film on its own it worked for me in spades.
You’re right Pierre, this really is a family film at heart and that’s why it worked for me.
Overall I think The Road is a very good film. The performances are very strong and even though brief, the supporting work is good too. Visually the film captures images of the end of the world that are visually arresting, beautiful, and terrible at the same time. Plus Hillcoat’s direction is smart and nicely textured with little moments that convey powerful emotion and subtext that was certainly more explicit in McCarthy’s prose.
I’d probably give it a B or B- though if I were to apply a letter grade because I didn’t care for the very end of the film as much as I would have liked and I felt the score was extremely uneven, at times interrupting the powerful acting and direction with almost maudlin musical queues. I’m not sure what Cave and Ellis were going for, but in certain key scenes it really doesn’t work.
That said, this is still one of the better films of the year, in my opinion.
I’d have to see it again to really focus on the Cave/Ellis contribution. It didn’t stick out badly to me which is a victory in and of itself.
The denouement was a little strange and I wonder if it was in the book like that. Did you read it?
The thing is, I was so emotionally in the tank for the movie by that point that it didn’t matter and actually it somehow sort of felt right. It’s up to the viewer to decide whether it’s a happy ending or not, but it’s clear the filmmaker (and most likely the Weinsteins) are hoping it’s perceived as upbeat since more people will see it that way.
I’m still worried how Sartre and JB will respond since they’re invested in the original book. I have no idea if it translates.
Overall, I think The Road is a very bad film. The lead performance is strong, but Robert Duvall’s geriatric turn is an embarrassment. The visual images may be arresting, but in the service of a dull and deadening pace (yes I blame the unimaginative Hillcoat) it comes off as highly superficial, especially since there have been a number of other visually arresting apocalyptic tone poems out there…..see CHILDREN OF MEN first and foremost, which blows this film out of the water. I saw no fine textures at all, and the only emotion to be felt during the long boring film was at the end but that was bulit in and already known. McCarthy’s prose can’t translate to the screen and this is a perfect example. The film relied on visual landscapes, and brought nothing to the table by way of psychology. But it wan’t an easy task to begin with.
I’ve been told many times that the voicing of disagreement at LIC is always particularly welcome. So there you have it. This was a misfire, and the pushed back release dates were an early ominous sign.
Like I said, I’m sorry it didn’t work for you and I can actually kind of see why it wouldn’t, even if it did for me.
At least we can agree Precious sucks!
LOL Craig!!! You are a good sport as always. Agreed on PRECIOUS!
I can remember three instances this entire year where we disagreed to the point of swords. INGLOURIOUS BASTERDS was perhaps the most infamous instance, but WHERE THE WILD THINGS ARE and now THE ROAD. But we’re even as you were no fan of BETRAYED, OF TIME AND THE CITY and STAR TREK. Well the last you kind of liked I think but not loved.
We agree 90% of the time, which I am grateful for.
I wouldn’t care Sam if we only agreed half the time.
Of the three, Inglourious Basterds is reallythe only one I’d go to the mat for, but even that one I kind of get why someone would hate it. Wild Things I really liked, but it was a personal thing.
I don’t think I saw Betrayed. Star Trek was just ok and the extremely positive critical reaction kind of threw me. It was fun for me but one of those movies that quickly faded and its flaws started to outweigh its strengths.
Time and the City we’ll just have to chalk up to not being my cup of tea.
Betrayed was the film that starred John Malkovich based on the celebrated novel set in Africa. Am I getting the name right? Oh God, let me be sure.
I’m thinking Disgrace.
Yeah, I pretty much never bought into that one. Enjoyed Malkovich’s performance though.
Yeah, I’m not going to the mat for The Road but you’re going to be awfully disappointed in my year-end list at this point, Sam, especially when I get to the part about the worst movie of the year. Oh well.
Oh no Joel!
Are you going to throw STAR TREK to the wolves Joel? I don’t recall you disliking it that much. But I could be wrong.
My top film of the year with only four weeks to go will probably be Jane Campion’s BRIGHT STAR, and I knew you liked that. Maybe you hated ANTI-CHRIST, which is among my top films? I loved DISTRICT 9, but I know you liked that one pretty much too. Ah, it could be the Davies, or maybe the Greenaway doc. or even the Claire Denis? I don’t think so, but I’m not sure.
Yes, it’s DISGRACE Craig. I mixed up titles there.
Oh I thought of another one i loved that you hated Sam: Thirst.
My list is still fuzzy, but Summer Hours and A Serious Man are on it.
Ok I have thought this through.
Joel, you will be naming Von Trier’s ANTI-CHRIST as your worst film of 2009. And you won’t be alone. There are many people (some that I know personally) who abhor this film, equating it with evil. I won’t take you to task at all for an ultra-negative judgement, but I am a big fan of the director, and I see some brilliant stuff here. My full review will finally appear at my site in the morning, as a matter of fact.
I’m late for an appointment — must be brief — but Children of Men and The Road are two very different films.
Way to throw out a stink bomb and run Pierre!
Craig: True there on THIRST.
But I am completely with you on the Assayas and Coens films. They are definitely in my Top 10 too.
I’m sure there were worse movies, but the worst movie I saw was Transformers 2. It makes 2012 look like Lawrence of Arabia.
Pierre:
They are different but also they are the same.
How’s that for a response? LOL!
TRANSFORMERS is an excellent choice for the worst.
Another big divergence of opinion we had Craig was with MOON. I disliked it, you liked it.
Also, although I had the esteemed sartre on my side in liking WATCHMAN, you, Jenny and Joel lined up against it.
Another strong candidate for worst of the year is THE MEN WHO STARE AT GOATS, methinks.
It’s generally hard for me to pick a worst film of the year because I rarely check out the more mainstream fare that most consistently delivers them.
Transformers 2 is definitely a good candidate but that movie was roundly hated by anyone that isn’t Armond White. Giving Transformers 2 that honor is basically just a Razzie award. I’m afraid it’s too obvious, and my expectations of it were so low that I can’t deem it worth thinking about. However, Star Trek left me severely underwhelmed and yet received a reception befitting a much better film. I’m still mulling it but it’s at the top of my list right now. I might have to revisit it on DVD before I decide for the sake of argument, but I don’t expect to like it much more.
I’m still seeing spots from the those fucking lens flares after the first viewing.
We got similar to those flares in DISTRICT 9 too.
I liked Watchmen, Sam. Imperfect, but a better adaptation than I ever expected.
Lol. Sartre, paraphrased: I can’t pick a worst film of the year because my taste is too good. :)
You might very well think that jennybee, but of course, I couldn’t possibly comment.
“worst” being relative Sartre, you can still pick one. It could be in your list of personal favorites, but is still the worst.
Plus there are plenty of shitty movies outside of the mainstream.
Ok, worst so far -> An Education for the too many facile moments in the script that tainted the overall experience for me.
Haha, Craig. My stink bomb didn’t spur much controversy.
Although CoM and The Road have post-apocalyptic settings, I feel the stories, style and tone are different. The latter film is less cruel, has more warmth and is more viewer friendly to my way of thinking. I also think that AMPAS will be more receptive to The Road. CoM may be more epic, but The Road is more easily accessible and has a strong interpersonal relationship as a thruline that dominates the themes, whereas CoM has a greater scope but is more impersonal. That’s my take, anyway.
*** POTENTIAL SPOILER ***
One of the most important moments for me was when The Man was explaining to The Son how his job was to worry about (protect) the young boy — to which the son replied something like this: “I’m the one who has to worry.”
That moment kind of killed me. It was a big realization for the father as well as the audience. The son has the weight of the future on his back.
I agree that outside of their bleak post apocalyptic settings, CoM and Road are two totally different films. I like them both (probably a bit bigger of a fan of CoM, but I’d have to see it again) but they’re occupied with different ideas.
I wonder how palatable Road will be to AMPAS. I have a suspicion they’re more inclined to react like Sam and Daniel have.
Yeah, that’s a great moment. Adults so often take kids for granted and rarely acknowledge just how resourceful, aware, and capable children actually are. It’s rare to see that acknowledged in a film, although I’d counter that there are other lines of dialogue in the film from the kid that I thought conflicted with this key moment (the early scene in the barn that ends with “You know why” stands out the most). I’m willing to see it as a progression of growth and awareness from the kid over the course of the film, but taking that position opens up the whole issue of why the kid (having lived his entire aware life in this uncivilized hell) would even ask the question that begs that response in the barn to begin with. It seems to me that it would be far from an isolated incident or a newfound awareness of the depth of their plight.
And if you question that, it opens up much of the Father’s actions to criticism. So I’m trying to leave that whole thing alone because I don’t think the movie is really about those issues.
I wonder if the book covers that scope of growth and awareness over time in more detail?
And by the way, am I the only person here familiar with the current comic book series The Walking Dead? It’s a zombiecaust/end of civilization scenario but done as a long-form serialized comic book. I’ve wondered how much it has in common with The Road (which I should read), but it’s an interesting take on what happens to family and personal relationships when survival is key and trust and safety are at a minimum.
The Walking Dead is news to me. I’m so tired of the zombie thing I’d likely have overlooked it if I knew about it, but now I won’t.
Interesting point about the barn scene Joel. Honestly I’d have to see the film again to see how it fits with the overall progression. One thing is I wonder how much time passed during the course of the movie. There was no way to tell.
Joel, I first came across the title on the NY Times graphic novels of 2009 gift guide list moments before reading your reference to it.
http://www.nytimes.com/gift-guide/holiday-2009/giftguide-graphicnovels/list.html
Well spoiler warning, that NYT synopsis gives away a major plot point late in the series and gives away the newest plot development…which I hadn’t even read yet because I’ve been following it via collected graphic novels.
(sigh). Fucking elitists at the NYT. I kid, but come on…give away the plot points? Asshat move.
Yes, if you’re tired of zombie movies it may not hold your interest and unless you want to give the bleakest gift ever this Christmas, I wouldn’t be handing out copies of TWD to your loved ones.
With each subsequent collection I’ve considered dropping it because it can be so overwhelming and depressing at times, but each time a new one arrives at my local library I usually tear through it in one sitting, barely able to pause to look at the pictures because I’m reading furiously.
Good writing is good writing whether it’s zombies or Strawberry Shortcake.
Sorry Joel for exposing you to a major spoiler :-(
At least you weren’t exposing yourself
There is no risk of that – so long as I continue with the shock therapy and psychotropic medication.
Not your fault sartre and not a big deal, but it’s disappointing for anyone that was going to read it.
Pretty funny thread here.
Did nobody else notice how much McPhee resembled Theron? Was that a deliberate casting choice? Kind of freaked me out throughout the whole thing.
Well I liked The Road a little more than Sam but not as much as Craig or maybe even Joel. When you sit down and really mull it over it’s a fascinating and devastating premise, but something prevented me from really connecting with anyone emotionally. So I was rolling my eyes at the end (well not really) more than wiping tears from them. Didn’t ruin the rest of the film or the strength of the story, necessarily, but man, maybe this was just too bleak for me coming at a dark and cloudy (in some places…) time of the year.
Mortensen was great, in any case.
“Did nobody else notice how much McPhee resembled Theron?” Yes, I remember thinking “wow, that kid could really be her son” as I was watching it…..but then of course I forgot to mention it as I was rushing the review.
I’m a firm believer that an ending can make or break a film (and is the theme of my upcoming Up in the Air review), but what comes before is still important. If a movie isn’t hooking you, the big moment at the end always leads to eye-rolling and if it does, it’s a sucker punch.