Red is the arousing violent color of choice for this pic. It opens at a Spanish festival where a large crowd pour tomatoes and tomato juice over their bodies, as red decorates the traditional bacchanal festival. Later there’s the red paint vandals throw on the Tilda Swinton character’s modest house, the red soup can labels Swinton hides behind to avoid the stares of angry judgmental parents at the supermarket and the stunning shot of blood all over Swinton’s house from the monster child’s many victims after he goes on a killing spree.
The first child of Eva and Franklin is the hostile, creepy and bad behaving Kevin, a child mom didn’t want and had a difficult delivery. The couple years later give their troubled six-year-old son a little sister named Celia, whom Kevin takes delight in abusing. The manipulative Kevin learns to treat all his family members with fake affection, and thereby narrowly avoids being targeted for professional counseling. The film follows through many back and forth flashbacks from the present the tortured mind of Eva, as she retraces how difficult it was to raise such an angry child — a child who appears to have come out of the womb evil and hateful of her. The clueless friendly father Franklin thinks Kevin will outgrow his childhood problems and when Kevin is 16, he gives his loner son an archery set-up for Christmas — a gift Kevin greatly appreciates and is the only thing in the world the kid seems to enjoy. The bow and arrow will later become the expert archer’s weapon of choice in his bloody attack. —Ozu’s World of Movie reviews
Lynne Ramsay (born 5 December 1969) is an award-winning Scottish film director, best known for the feature films Ratcatcher and Morvern Callar.
Ramsay won the 1996 Cannes Prix de Jury for her graduation film, the short “Small Deaths”. Her second short film, “Kill the Day”, won the Clemont Ferrand Prix du Jury; her third, “Gasman”, won her another Cannes Prix du Jury in addition to a Scottish BAFTA for Best Short Film.
Ratcatcher (1999), Ramsay’s debut feature, won critical acclaim and numerous awards. It was screened at the 1999 Cannes Film Festival and opened the Edinburgh International Film Festival, winning her the Guardian New Directors prize. She also won the Carl Foreman Award for Newcomer in British Film at the 2000 BAFTA Awards, the Sutherland Trophy at the London Film Festival and the Silver Hugo for Best Director at the Chicago International Film Festival.
Morvern Callar (2002) won Samantha Morton the British Independent… read more
The parallels in visual metaphors and characters is an interesting thing to look at. I really liked the main protagonist's acting and the narrative structure. There were a lot of things that became unbelievable to me. Most of them is based on Kevin's actions and the mother's reactions.
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Updated through 5/24. We Need to Talk About Kevin "heralds the rebirth of director Lynne Ramsay, who shot Ratcatcher in 1999, Morvern Callar
Eva Khatchadourian is trying to piece together her life following the “incident”. Once a successful travel writer, she is forced to take whatever job comes her way, which of late is as a clerk in a… read review
This is a weird fuckin’ movie. I’m not sure what to make of it. The only way it works in a ‘realistic’ way is if its entirely from the subjective experience of Swinton’s mother character. I could see… read review
Despite of the apparent, over-the-top fingerpointing in this film, I like what’s between the surface and the lines here: Swinton’s deadpan expression, the technical changes in direction where technicalities… read review