We Need to Talk About Kevin-2011

Director Lynne Ramsay

Starring Tilda Swinton, Ezra Miller

Scott’s Review #785

Reviewed July 9, 2018

Grade: A

We Need to Talk About Kevin (2011) is a tremendously disturbing independent drama with eerie similarities to the infamous Columbine school shooting massacre.

The point of view of the film is from the perspective of Eva (Tilda Swinton), a haggard, troubled mother doubting her love for her violent teen son.

Swinton was shamefully overlooked for an Academy Award nomination despite her brilliant, breathtaking performance.

The overall film itself is equally astounding and powerful.

Adapted from a Lionel Shriver novel, the film begins in the present day, after tragedy has occurred.

Eva, once a successful writer of affluent means, now lives alone in a rundown house near a prison where she frequently visits her son Kevin (Ezra Miller).

She is now reduced to a mundane job at a travel agency while neighbors terrorize her, blaming her for her son’s machinations.

Chillingly, Eva ponders the warning signs Kevin exhibited throughout his childhood and tortures herself with thoughts of what she could have done differently to prevent the shootings and the death of her loved ones.

Uniquely, the film segues to before Kevin was even born. Eva and her husband Franklin (John C. Reilly) happily welcome their baby boy, but he is immediately “not right” and difficult and cold towards her.

This behavior continues over the years as Kevin is distant towards Eva, but warm and adoring towards his father, leading to mental games and the death of a pet.

When Eva and Franklin have another child, things get progressively worse, leading to tragic events.

The film is a pure masterpiece with riveting acting performances all around (especially Swinton) and a slow, plodding pace. This is a perfect aspect of the film because it maintains a continuous gloomy, moody vibe.

Director Lynne Ramsay reveals everything in the opening moments, so we know how events will unfold, but the real enjoyment comes from the characters’ development.

Dad, Franklin, and daughter, Celia, are around, but the film belongs to Eva and Kevin and their relationship.

The film raises many questions (I know I asked myself these questions).

Should any blame be cast upon Eva, or is she purely innocent? How about Franklin? Is Kevin just a “bad kid”? Was Eva wrong for breaking Kevin’s arm in anger, or justified? Should Eva have never had kids because of her earlier doubts? Should she have been more proactive about getting Kevin treatment?

Swinton delivered her career-best performance, and while she earned a Golden Globe nomination, the ultimate gold statuette (Oscar) passed her by.

I find this to be troubling, especially since she won for 2007’s Michael Clayton, a very good performance, but not on the same level as Eva.

Swinton is one of the great modern actresses, and hopefully, great roles will continue to follow this treasured star.

Almost on par with Swinton is a young talent, Ezra Miller. A relative newcomer in 2011, he appeared in the indie gem The Perks of a Wallflower (2012) and later moved into more mainstream fare like Trainwreck (2015) and Suicide Squad (2016).

We Need to Talk About Kevin remains his best and most challenging effort.

One of the best sequences occurs during the school massacre scene. Shot at night (and in my adopted hometown of Stamford, Connecticut!), the sequence involves flashing police lights and chaos as Eva approaches the school in horror.

With no dialogue, we see Kevin enter the school and render the doors useless as an escape route.

Terrified students are murdered as Kevin erupts with maniacal rage. The scene is downright chilling and incredibly effective.

2017’s The Killing of a Sacred Deer reminds me a lot of We Need to Talk About Kevin in tone and style, so much so that I wonder whether the latter was watched and studied before the former.

Either way, the duo could be watched back-to-back for a double dose of teenage maniacs.

With a bleak, dark tone, We Need to Talk About Kevin (2011) offers a story with a clear message.

Never discussing the hot topic of gun control, guns are not used in the slaughter, a bow is, weapon restrictions will nevertheless be an obvious discussion point.

This film is one to be observed, savored, dissected, and thought about after the finale, and remembered as a great piece of cinema.