home movie review wikipedia

• Cast & crew
• User reviews

Oh, a lovable misfit alien, runs away from his planet and takes shelter on Earth, where he befriends Tip, an adventurous young girl who is on a quest to find her displaced mother Lucy. Oh, a lovable misfit alien, runs away from his planet and takes shelter on Earth, where he befriends Tip, an adventurous young girl who is on a quest to find her displaced mother Lucy. Oh, a lovable misfit alien, runs away from his planet and takes shelter on Earth, where he befriends Tip, an adventurous young girl who is on a quest to find her displaced mother Lucy.

• Tim Johnson
• Tom J. Astle
• Jim Parsons
• Steve Martin
• 316 User reviews
• 182 Critic reviews
• 55 Metascore
• 3 wins & 10 nominations

Top cast 11

• Gratuity 'Tip' Tucci

• Captain Smek

• Gorg Commander

• Boov Announcer
• (as April M. Lawrence)

• (uncredited)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia The Jennifer Lopez title track "Feel The Light" opens with the five familiar notes used to communicate with the aliens in Close Encounters of the Third Kind (1977) .
• Goofs After arriving in Paris, Tip and Oh snatch Vincent van Gogh 's "Starry Night" out of the hands of an alien who was about to eat it. The painting has been at the Museum of Modern Art in New York City since 1941.

Oh : High hands touching!

• Crazy credits DreamWorks Animation Logo: The boy gets sucked up by a violet tube and a boov takes the boys spot.
• Connections Featured in Jennifer Lopez: Feel the Light (2015)
• Soundtracks Red Balloon Written by Tor Erik Hermansen (as Tor Erik Hermansen), Mikkel Storleer Eriksen (as Mikkel Eriksen), Charli XCX (as Charlotte Aitchison) and Cashmere Cat (as Magnus Høiberg) Performed by Charli XCX Produced by Stargate Charli XCX appears courtesy of Atlantic Recording Corp.

User reviews 316

• Troy_Campbell
• Mar 21, 2015
• How long is Home? Powered by Alexa
• March 27, 2015 (United States)
• United States
• DreamWorks Animation
• Official site
• Happy Smekday!
• Glendale, California, USA (DreamWorks Animation)
• See more company credits at IMDbPro
• $135,000,000 (estimated)
• $177,397,510
• $52,107,731
• Mar 29, 2015
• $386,041,607

Technical specs

• Runtime 1 hour 34 minutes
• Dolby Digital
• Dolby Surround 7.1
• Dolby Atmos

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‘Home’ Film Review: Franka Potente’s Directorial Debut Follows an Ex-Con’s Journey

Engaging performances by Jake McLaughlin and Kathy Bates make up for some script shortcomings

Franka Potente, the star of the German breakout hit “Run Lola Run,” found her way into mainstream Hollywood as part of the “Bourne” franchise in the early aughts. She has since amassed credits in TV and film productions staying inconspicuously present. To see her return to the foreground with her first foray into writing and directing a feature, “Home,” comes as an unforeseen, but not entirely unwelcome, career development.

For this venture behind the camera, the actress-turned–shot caller settles her story in small-town California, where desert highways lead to rundown dinners, old gas stations, and churches in communities just barely getting by. Still, Potente’s entry into the cinematic conversation centering poor and disenfranchised white Americans (alongside films like “Hillbilly Elegy”) mostly refrains from exploiting misery for its generally unsurprising situations.

Vast landscapes dwarf Marvin (Jake McLaughlin, “Quantico”) as he skates back home in a blue tracksuit and a bright red Mohawk. These sharp wardrobe and hair choices instantly give the character a memorable look that plays well with the muted color palette of the spaces he’ll occupy for the rest of the picture. It doesn’t take long before everyone in Newhall, his hometown, learns Marvin is back after 17 years in prison for murder.

Now almost 40, he sets foot in his former stomping grounds to find his ill mother Bernadette (Kathy Bates) dying of cancer and his best friend Wade (Derek Richardson, TV’s “Anger Management”) struggling with addiction. Marvin helps around the house and keeps a low profile, but townspeople continue to cling to the past. Amid his new circumstance, he encounters Delta (Aisling Franciosi, “The Nightingale”), the granddaughter of the woman he killed, whose initial reluctance to engage him turns into predictable romantic spark. Details of the crime remain undisclosed to us.

In formidably reserved performance, McLaughlin’s strong, square-jawed face and kind eyes condense his longing in a single gesture — neither a smirk nor a frown but something perceptibly childlike. There’s an aura of earned tranquility to him, which defies the stereotype of the recently released ex-convict battling pent-up resentment while readjusting to a life they once knew. Apologetic, he takes in stride the hate aimed his way.

Though Marvin’s particular brand of brokenness, one without violent episodes or overly dramatic lamentations, makes him enthralling to watch, the beats of the story are plagued with formulaic rot. The story leaves out more than just his motives for the act that put him away: His transformation in prison or any plans for a financially secure future, whether professional or educational, never come up.

That a man with such a burden in the rearview mirror of his life can get released nearly two decades later and maintain such restraint, without resorting to substance abuse or falling back into self-destructive activities, feels miraculously refreshing to see in a film. And yet we are unaware of what McLaughlin’s Marvin did while serving his time to attain such mental strength or to be so immune to temptation. As genuinely interesting as it is to watch the actor playing the role, there’s a missing piece to the character’s emotional identity.

Formally, the first-time director takes some swings that fail to land as desired. Musical interludes, where Marvin and Wade dance around to rock music from their youth or spend an afternoon at the skate park, reduce their bonding to terribly hackneyed moments. Their intent is clearly to demonstrate Marvin’s arrested development, still mentally trapped in the time period since he was last free and only finding comfort in another person just as riddled with regret, but the dodgy tone and execution trumps the purpose.  

Notwithstanding the script’s shortcomings and odd narrative adornments, Potente’s directorial instincts show noteworthy promise. More than just the outcome of proper casting, “Home” rides entirely on the turns she has extracted and molded from a cast comprised of some familiar faces and her singular male lead.

With this no-nonsense matriarch, Bates reiterates that she, like all great actors, can make herself noticeable in any given role with the might of her bitter cheekiness. Scenes involving McLaughlin and Bates show an open-heartedness in the two characters liberating each other from the pain of rehashing old wounds. No major fights or arguments maim their relationship, and yet it doesn’t feel as if there are things left unsaid between them.

For levity, Potente deploys Stephen Root as a foul-mouthed priest and Lil Rel Howery as Bernadette’s caretaker to brighten the drama with poignant encouragement for the embattled mother-and-son duo. Neither of their characters are particularly indispensable to the plot in general or Marvin’s arc in particular, but they are both vivid presences nonetheless.

Franciosi, on the other hand, plays a young woman whose position — in love with the man who devastated her family — merits greater analysis than we get. A scene where Marvin shows her the location where he committed the crime is as close “Home” gets to delving into the event that inevitably, although to different degrees, haunts them both. On her mission to speak about forgiveness and empathy precisely for those who’ve directly hurt us, Potente ultimately stumbles to deliver a resolution with sufficient gravitas to correct other flaws. 

“Home” premieres Dec. 3 in US theaters and via streaming.

Home is a 2015 animated sci-fi buddy-comedy film by 20th Century Fox and DreamWorks Animation . The film stars the voice talents of Jim Parsons , Rihanna , Steve Martin , and Jennifer Lopez . It was released on March 27, 2015 .

• 3 Production & Development
• 5 Soundtrack
• 7 External links

Led by Captain Smek ( Steve Martin ), an alien species called the Boov escapes from their planet to Earth in order to hide from their enemy, the Gorg, who is bent on destroying them. Smek convinces his race that humans are simple-minded and need to be taken care of. The Boov , believing they know what's best for the humans, relocate them to Happy Humans Town, an amusement park in Australia.

The Boov populate the inhabitable regions of the earth. Oh ( Jim Parsons ), an unusual Boov who is forever the optimist, throws a party, hoping to finally make friends. He invites his "neighbors", but no one attends. No Boov wants to associate with Oh because he is considered an outcast "who always messes things up". He decides to invite traffic officer Kyle ( Matt Jones ), his "best friend", to the party. Kyle is directing traffic when Oh sends an e-vite. However, Oh clicks the "Send All" button instead of "Send". This sends the e-vite to everyone in the universe, including the Gorg, meaning they would have to flee again. Kyle attempts to arrest Oh, who is now a fugitive. He must run or be captured and destroyed.

Meanwhile, Gratuity "Tip" Tucci ( Rihanna ) was able to escape relocation because her cat, Pig, was stuck on her head when everyone else was being transported. She wants to find her mom ( Jennifer Lopez ) and know she can't stay hidden from the Boov much longer. She takes off in her car and stops at a convenient store for food, wrecking her car. She bumps into Oh, who is also looking for food. She throws a freezer with broom through the door handles. Oh makes a bargain with her that if he fixes her car, he can come out of the freezer.

More coming soon!

• Jim Parsons as Oh
• Rihanna as Gratuity "Tip" Tucci
• Steve Martin as Captain Smek
• Jennifer Lopez as Lucy Tucci
• Matt Jones as Kyle
• Brian Stepanek as Gorg Commander/Father / Additional Boov
• April Lawrence as Boov Announcer
• Stephen Kearin, Lisa Stewart and April Winchell as Additional Boov
• Nigel W. Tierney as Child A (uncredited)

Production & Development

In 2008, DreamWorks considered making The True Meaning of Smekday into an animated film. Its original title was Happy Smekday! .

Rated PG for action and some rude humor

Click here .

External links

• Home at the Internet Movie Database
• Home on Wikipedia
• Home on the DreamWorks Wiki
• 2 Gratuity Tucci

#Home (2021) Movie Review: Dazzling Digital World and the Disconnected E-Hemispheres of Modern Man 

Rojin Thomas’ “#Home,” released in 2021, is a relatable and light-hearted story that showcases how the technologically illiterate father, Oliver Twist (Indrans), struggles hard to bridge the gap between his sons, who are immersed in the world of social media and smartphones. The importance of family ties, humane assets, the journey of self-discovery, an empathetic attitude, and mastering the mysteries of smartphones are narrated in an endearing and humorous manner. This is not just the reel life of Oliver Twist and his family but the real-life story of many residing within the same home, yet disconnected from each other and drifting apart to their own e-hemispheres of life.

The middle-aged father, Oliver Twist, struggles to make sense of the fast-changing world. He notices that his eldest son, Anthony (Sreenath Bhasi), is very fond of interacting with people on the phone instead of talking to someone beside him. Anthony faces writer’s block and digital addiction that impedes his ability to complete the script of his upcoming film, or perhaps it’s utter laziness.  Oliver’s nomophobic son exhibits a strong sense of revulsion when he’s pushed to speak directly with another human being next to him. Anthony represents the young generation who values digital relations more than anything else. They are unable to value the worth of a person close to them. They place online relationships on a pedestal.

Oliver is the digitally unsavvy father of two indifferent sons:  Antony Oliver Twist, a film director with one super hit, currently struggling with his second script; Charles (Naslen K Gafoor), the younger son who is a social media geek creating YouTube vlogs for anything and everything around him. Oliver has retired from his obsolete video cassette business and shifted his passion to his organic terrace garden.  Oliver also cares for his ailing father and does the household chores willingly.  Oliver’s wife, Kuttiyamma (Manju), is a typical sharp-tongued housewife whose nursing proficiency helps give great care to all in the family, especially Oliver’s father.

Oliver spends a lot of time with his childhood and dearest friend, Suryan, who stands with him in all the crests and troughs of life. Oliver feels free to confide his emotional agonies and the indifferent-cum-insulting behavior of Anthony to Suryan. “# Home” brings forth the challenging actuality of the present day, where everyone remains connected but living in their digital cocoon, clinging to their personal gadgets. This is a heart-warming family drama where social media turns out to be the villain, affecting the relationship between a father and his son.

Anthony, who had success with his debut film, is leading a disorderly existence as he is striving hard to finish the climax of his second film. Baby, the film producer, grows impatient as Anthony is unable to finish the script. The producer asks him to write the last act from the same place where he wrote his successful debut, i.e., home. Antony has a deadline of seven days. Antony’s relationship with his girlfriend, Priya (Deepa Thomas), also does not run smoothly, as he is least bothered by her emotional requirements. They express their hidden and unheard feelings to each other in the form of ‘emotional athyachar’ through Instagram stories.

Oliver, a beginner in the social media world, learns new things from many, including his younger son. Oliver tells Kuttiyamma that the problem between Anthony and Priya is some ‘emotional achar’ that both of them are unaware of. While interacting with a mobile phone shopkeeper, Oliver mispronounces Instagram as ‘installment.’ He frankly admits his ignorance and has a willing and affirmative mindset to learn the nuances of the online world from others. When Oliver asks Charles to teach him how to use WhatsApp and Facebook and how to pay bills, Charles impatiently tells him: Papa, you have come with one year’s syllabus to be taught. Oliver resembles many fathers of the present day who approach their children with a notebook to clarify their doubts and jot down the tips to be remembered for future use.

“#Home” beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction. The film, which is written and directed by Rojin Thomas, speaks the truth of the present times. It puts in perspective how technology has brought the world closer and, at the same time, driven us away from the people who matter to us the most. The characters and their interpersonal dynamics possess a lived-in feel, especially Indrans, who has an extraordinary sense of presence.

The film talks in detail about the new-age parenting challenges. It also reflects on how technology is reshaping lives in every conceivable way, especially the way people interact with their surroundings. “#Home” will make one analyze the importance and consideration the present generation bestows upon relationships. Despite all the humiliations showered on him by his sons, Oliver is ready to do anything for them. He willingly consults a psychologist to bring changes in his life. He does not feel anything wrong in taking the advice of an expert to better his life. It does bring changes in his entire personality. The film acknowledges the importance of mental health in day-to-day life and why our mental peace should not be overlooked.

Anthony undergoes a sea change into ‘something rich and strange’ towards the close of the film. His rebellious nature gets a reformation, and he willingly accepts his flaws, thereby posting a note on social media in his handwriting with mistakes and overwriting. Anthony was so worried about his personality being evaluated by others. Hence, he wished to project a perfect version of himself far apart from his true self. He accepts all his frailties and pronounces, ‘I am always imperfect at my Home.’ Anthony views life afresh with all his imperfections. He ascertains that home is the only place where people are loved and cared for selflessly, irrespective of the dramas they do daily to fit into society.

Rojin Thomas has succeeded in deciphering the diverse shades of human relations. The movie shares a boundless message with an outstanding climax. “#Home” is fundamentally a tale of acceptance. One must accept one’s family with its simplicity. The family members need not be extraordinary people or superhumans to feel proud of them. A person has to be accepted and acknowledged by the way they are. Home is the right place for that, and the renowned poet, Robert Frost’s quote remains true in this context: “Home is the place where, when you have to go there, they have to take you in” (Frost,1).

#Home (2021) is a must-watch for those who feel and sense the imperfectly perfect versions of their own selves at home.

Read More: 25 Greatest Malayalam Movies of All Time

#home (2021) movie links: imdb , wikipedia , letterboxd #home (2021) movie cast: indrans, sreenath bhasi, naslen k. gafoor, deepa thomas, johny antony, manju pillai, kainakary thankaraj #home (2021) movie genre: drama, family | runtime: 2h 38m, where to watch home, trending right now.

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Home movies, common sense media reviewers.

Witty animated show about young filmmaker is best for teens.

A Lot or a Little?

What you will—and won't—find in this TV show.

The series portrays Brendon's filmmaking efforts a

Brendon and his friends are devoted to making movi

Moderate cartoon antics that fall short of actual

Characters call each other "stupid" and say "shut

Some episodes have references to well-known movies

One of the adult characters has a drinking problem

Parents need to know that although this series about a boy who likes to make movies with his best friends is animated, it often explores relatively mature topics about families, marriage, and divorce. There's not too much in the way of swearing, sex, or violence, but the jokes and themes might not be very entertaining…

Positive Messages

The series portrays Brendon's filmmaking efforts as worthy and artistic ventures, requiring creativity, imagination, and focus. That said, it also delves into complex family issues, touching on divorce, absent and neglectful parents, and the complicated relations within blended families.

Positive Role Models

Brendon and his friends are devoted to making movies, and they sometimes neglect their schoolwork to focus on filming. They're also willing to sneak into places to film scenes and break rules in pursuit of getting the shot. Their parents run the gamut from very involved and supportive to completely absent.

Violence & Scariness

Moderate cartoon antics that fall short of actual fighting.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Characters call each other "stupid" and say "shut up" and "ass." Some references to bodily functions, as characters sometimes "gotta pee" or throw up.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Some episodes have references to well-known movies.

Drinking, Drugs & Smoking

One of the adult characters has a drinking problem.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that although this series about a boy who likes to make movies with his best friends is animated, it often explores relatively mature topics about families, marriage, and divorce. There's not too much in the way of swearing, sex, or violence, but the jokes and themes might not be very entertaining for young viewers. The main character, Brendon, lives with his single mom, while his friend Jason seems to have little contact with his parents. The kids themselves must often bend a few rules in order to plan and shoot the scenes for their movies.

Where to Watch

Videos and photos.

Community Reviews

• Parents say (2)
• Kids say (16)

Based on 2 parent reviews

What's the Story?

Brendon (voiced by HOME MOVIES creator/writer Brendon Small) is a budding filmmaker at age 8. Along with his best friends Jason ( H. Jon Benjamin ) and Melissa ( Melissa Bardin Galsky ), he's constantly planning his next shoot, talking about dialogue, or filming a scene. This clever animated series shows the lengths that a persistent young artist is willing to go to pursue his craft, even if it sometimes means ignoring homework or bending a few rules to gain access to just the right location for a key sequence.

Is It Any Good?

While Home Movies (which originally aired from 1999-2004) is about three young kids, the show's jokes and situations are clearly aimed at an older audience. When the series isn't focused on Brendon's films, it also touches on family relationships. Brendon lives with his single mom and adopted sister and sometimes interacts with his dad and stepmother. Jason and Melissa also seem to have vaguely dysfunctional relationships with their parents (although, really, who doesn't?).

In this series, the kids have to deal with many of the same issues as real-world kids -- including divorce, under-employed parents, and watching their single parents negotiate the dating world. Brendon's entertaining films offer the trio an entertaining and creative escape and sometimes seem like a metaphor for needing to escape.

Talk to Your Kids About ...

Families can talk about divorce. What do you think about the way Brendon's single mom is portrayed? What about his dad and step-mother? Does this seem like an accurate look at divorce? If your parents are divorced, or if you have friends whose parents are divorced, does this show get it right?

What do you think about Brendon's devotion to making movies? Is he showing an early interest in the craft, or is he a bit too focused on his hobby?

• Premiere date : April 26, 1999
• Cast : Brendon Small , H. Jon Benjamin , Melissa Bardin Galsky
• Network : Cartoon Network
• Genre : Comedy
• TV rating : TV-14
• Last updated : March 2, 2022

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘#Home’ Malayalam movie review: A relatable, light-hearted tale

Despite the avoidable flab, director rojin thomas’ film stands on the strength of its performances, especially that of indrans.

Updated - August 19, 2021 12:29 pm IST

Published - August 19, 2021 12:21 pm IST

A still from ‘#Home’

Changing with the times is not something which comes naturally to everyone. Oliver Twist (Indrans), the protagonist of #Home , is someone who has gone through that struggle more than once in his life. In a short flashback, the script tells us how he once used to run one of the most sought-after video cassette lending libraries in town. The era of video cassettes passed, and he was left behind, longingly looking at the old cassettes stacked up in his attic.

Also Read | Get ‘First Day First Show’, our weekly newsletter from the world of cinema, in your inbox . You can subscribe for free here

In the present day, Oliver finds an almost unbridgeable gap between him and his sons, who are lost in their smartphones and drowned in social media, a world which is alien to him, as it is for many of his generation. Yet, the gap is more than one of technology. He yearns especially for the approval and care of his elder son Antony (Sreenath Bhasi), a writer-director caught in a rut after his successful debut film. Oliver’s wife Kuttiyamma (Manju Pillai) seems to understand the inner workings of his mind, but there is only so much she can do, while getting caught in her own daily struggles in the household.

• Director: Rojin Thomas
• Cast: Indrans, Sreenath Bhasi, Naslan.K.Gafoor, Manju Pillai
• Storyline: A humble but technologically-challenged old man tries constantly to keep up the closeness with his two sons, who are hooked to social media like other millennials

Rojin Thomas, who had a promising directorial debut with Philips and the Monkey Pen , and had a forgettable second film, seems to have recaptured some of the magic of his debut in #Home . More than a part of that magic is owing to the presence of Indrans, who has delivered a nuanced, heartfelt performance. From the scenes depicting his struggles with the smartphone — portraying effectively an entire generation’s struggles with technology which came late into their lives — to the ones of him hiding his feelings from the eyes of his family, Indrans makes Oliver relatable and endearing. Even without the ‘extraordinary’ back story. Oliver is made extraordinary by Indrans’ portrayal of the ordinary man.

The mood is kept light all through, with even the emotional scenes getting that treatment, with Oliver’s friend Suryan (Johny Antony) and younger son Charles (Naslan.K.Gafoor) injecting some dose of humour. Where the film falters a little is in trying to say too many things, from mental health to smartphone addiction, which contributes to the runtime of 160 minutes. Some more work at the editing table would have made it a much better film than it is currently.

Not to forget the fact that the script says the same things about the nature of Oliver and his son’s relationship in different ways, though it works at times in capturing the ever-changing shades of that relationship. The script also treats the relationship between Antony and his girlfriend Priya, which is toxic both ways, as somewhat normal.

Despite the avoidable flab, #Home is a relatable, light-hearted tale that stands on the strength of its performances.

#Home is currently streaming on Amazon Prime Video

Related Topics

Malayalam cinema / reviews

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Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors, the long walk home.

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`The Long Walk Home" tells the stories of two women and their families at a critical turning point in American history. One of the women is black, a maid in an affluent neighborhood, a hard-working woman who goes home after a long day and does all of the same jobs all over again for her family. The other woman is white, the wife of a successful businessman. She works, too. She doesn't have a paid job, but in 1955 in Montgomery, Ala., it was full-time work to please a husband who thought a woman's place was in the home, and who had a great many other thoughts on the proper places of just about everybody in his narrow world.

These characters are confronted by a historic moment. One day in Montgomery a black woman named Rosa Parks, who had worked hard and was tired, refused to stand up in the back of the segregated bus when there was an empty seat in the front. Her action, born out of a long weariness with the countless injustices of discrimination, inspired the Montgomery bus boycott, which was led by a young local preacher named Martin Luther King Jr., and which grew into the civil rights movement.

For a woman like Odessa Cotter ( Whoopi Goldberg ), however, the eventual verdict of history could not have been easily guessed on the day she decided to join thousands of other Montgomery blacks in refusing to take the bus. She simply knew how she felt, and acted on it, and started to walk to work every day. That meant getting up a couple of hours earlier in the morning, and getting home long after dark at night, and it meant blisters on her heels. It also meant inconvenience for her employer, Miriam Thompson ( Sissy Spacek ), who had a house to keep and a husband to feed, and who took her duties as a wife very solemnly - suppressing the obvious reality that she was married to a jerk.

Odessa is not eager for her employer to discover she is honoring the boycott - she doesn't want to risk losing her job - but one day Miriam finds out, and decides that she will give the maid a ride in her car a couple of days a week. This decision of course would enrage Miriam's husband, a self-satisfied bigot named Norman ( Dwight Schultz ), but Miriam doesn't tell him, and when he finds out, she defends her action as part of her job as a dutiful housewife.

In the meantime, she and her husband grow in different ways because of the boycott. Miriam is no activist, but can see as a wife and a mother what the boycotting black women are going through, and begins to sympathize with them. Her husband is taken by a relative to a White Citizen's Council meeting, where rabble-rousers depict the boycotters as dangerous subver sives (any true American would of course prefer to stand in the back of the bus than sit in the front - if he were black, that is).

The movie leads up to an inevitable confrontation between the white husband and wife, and to a climax of surprising power. But the general lines of the plot are not what make the movie special. We know going in more or less what will happen, both with the boycott and with these characters. What involved me was the way John Cork's screenplay did not simply paint the two women as emblems of a cause, but saw them as particular individuals who defined themselves largely through their roles as wives and mothers.

This movie would not have been made quite the same way 10 or 20 years ago. The focus would have been on the liberalism of the white woman and the courage of the black woman, and most of the scenes would have involved the white family. "The Long Walk Home" takes the time to develop both families, to show that in addition to being heroic but abstract media images, the maids like Odessa were also individuals with all the usual human hopes and worries, not least of which was losing a job.

Because the movie does center some of its important scenes inside the black household, it's all the more surprising that it uses the gratuitous touch of a white "narrator" - apparently to reassure white audiences the movie is "really" intended for them. The narrator is Spacek's teenage daughter, who has no role of any importance in the movie and whose narration adds nothing except an unnecessary point of view. When she talks about her memories of "my mother," we want to know why Goldberg's daughter doesn't have equal time. She probably has more interesting memories.

That objection aside, "The Long Walk Home" is a powerful and affecting film, so well played by Goldberg and Spacek that we understand not just the politics of the time but the emotions as well. In a way, this movie takes up where " Driving Miss Daisy " leaves off. Both are about affluent white Southern women who pride themselves on their humanitarian impulses, but who are brought to a greater understanding of racial discrimination - gently, tactfully and firmly - by their black employees.

Miss Daisy and Miss Miriam are not revolutionaries. Neither are Hoke Colburn and Odessa Cotter. But the situation had gotten to the point where something had to be done, because people after all must be permitted fairness and dignity, and these two movies tell two small and not earthshaking stories about ordinary people, black and white, who managed to talk and managed to listen, and made things a little better.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Long Walk Home (1991)

Whoopi Goldberg as Odessa Cotter

Sissy Spacek as Miriam Thompson

Dwight Schultz as Norman Thompson

Ving Rhames as Herbert Cotter

Dylan Baker as Tunker Thompson

Erika Alexander as Selma Cotter

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Home movie review: Indrans' Malayalam film is a charming relationship drama

Home movie review: sometimes too sweets but most times heartwarming, rojin thomas brings to life a lovely family drama that is driven by indrans' effortless performance..

Malayalam cinema is quietly making an impact with its simple stories. At a time when filmmakers are running behind stars to make pan-Indian cinema; Malayalam industry is betting its money on close-to-heart stories.

Rojin Thomas’s Home, which joins the list of recent feel-good Malayalam movies like Vikruthi and Android Kunjappan, works its magic with a simple story of a technology-challenged father, desperately trying to bond with his sons in the digital age. Home is a charming relationship drama but is too sweet at times making it slightly unbearable. However, it does leave you with a smile on your face with some lovely moments.

Watch Home trailer:

Home follows the relationship between Oliver Twist (Indrans) and his elder son Anthony Oliver Twist (Sreenath Bhasi) over a period of a few weeks. Anthony, a filmmaker basking in the success of his debut film, is struggling to write his second movie. With an ultimatum from his producer, he comes home, a place where he wrote his first script, to find some spark. Anthony’s father is over the moon to see his son back home, and his excitement knows no bounds as he goes around telling his friends about Anthony’s next project with a superstar. With constant pressure from the producer to complete the project, Anthony’s relationship with his family falls apart while his father tries his best to keep everything afloat.

Also read: Netrikann review: Nayanthara shines in a safe adaptation of Korean thriller

What really works in the favour of Home is its simplistic storytelling. It doesn’t boast of a great storyline, but it manages to tug at heartstrings with a plot that’s peppered with some lovely moments and a heartwarming twist. The film does get needlessly long but it makes up for the length with some great performances from the lead cast. Veteran actor Indrans breathes life into the character of the father, who’s stuck between pleasing his sons and getting more comfortable with social media. Indrans makes this a great family drama with his effortless performance and the scenes between the members of the family are highly relatable. Sreenath Bhasi is equally good as the wayward filmmaker-son.

The film does touch upon sensitive themes like discussing meeting a psychologist, and how it’s not something to be ashamed about. There’s also a sub-plot about social media being both a boon and a bane. It’s a film you won’t mind recommending and it makes for a lovely watch with your family.

Director: Rojin Thomas

Cast: Indrans, Sreenath Bhasi and Vijay Babu

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User 1 221 days ago

It's not a movie.It's an emotion to our family

rishitborra 1 487 days ago

Felt like I was #home..

Sriranjini KS 548 days ago

Beautifully written real life which makes it more relatable and heartwarming.

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A mon who tries to connect with his son

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#Home Movie Review: An eminently comforting film with relatable characters

Rating: ( 3.5 / 5).

There is a scene in #Home where Indrans is sitting inside a restaurant separated from the relatively younger and 'cooler' members of his family. I once happened to see the exact real-life version of this scene when I went to a restaurant alone. This father was seated in front of me -- because my table had only one person -- while his son, wife, and kids occupied a different table. Indrans' character, Oliver Twist, reminded me of him. They couldn't have picked a better actor to play him.

Director: Rojin Thomas Cast: Indrans, Sreenath Bhasi, Naslen, Manju Pillai, Kainakary Thankaraj Streaming on: Amazon Prime Video

Like the father in the above anecdote, the actor can convey volumes without saying anything. You can tell what he is thinking by simply looking at his face. Each member of the film's central family -- Kainakary Thankaraj as the grandfather; Indrans, the father; Manju Pillai, the mother; and Sreenath Basi and Naslen as their sons Anthony and Charles, respectively -- seems to experience this alienation to a certain degree. They seem to exist in separate compartments while living under the same roof.

When we meet Anthony, he is a filmmaker with a single film to his name, leading a disorderly existence. He has been struggling to complete the climax of his second film. The producer (Maniyanpilla Raju) is growing impatient by the day. The latter suggests that he write the last act in the same place where he wrote his successful debut. It's a nice segue to the film's title. Is a chaotic, messy lifestyle with your loved ones better than the same with yourself? #Home seeks to answer this question while addressing a lot of other things.

#Home is not so much an English Vinglish -style story of a person trying to learn about something as a document of a fictitious family, told like an epic (duration: 160 mins). I loved how the film gives equal space to every character and takes its time to bring out their peculiar characteristics. It packs so many relatable Indian moments: the mother trying to wake her son up by increasing the fan's speed; the same lazy son not bothering to put back all the teacups; and the two sons occasionally peeping inside the refrigerator because, as one of them says, "It's a habit, just like checking the phone all the time." Before I sat down to write this review, I came across at least four people who told me they saw themselves or their parents in these characters. For instance, Oliver notes down everything he learns about social media apps in a diary. My mother does that. If she saw this film, I'm sure she would be pointing to this scene like Leonardo DiCaprio in that meme. And Sreenath Bhasi's Anthony represents a multitude of young Indian men forced to detach themselves for the sake of work. Anthony is not the 'bad guy' here; his plight is perfectly understandable if you have experienced/are experiencing the same.

Yes, on the surface, #Home appears to be a story of a man trying to fill the emotional void caused by the technological divide and generational gap. But it's also, primarily, an emotionally overpowering story of self-acceptance. You could call it the 'coming-of-age' of a man in his 60s, triggered by a particular incident that becomes a major cause of embarrassment for Anthony, the filmmaker, and guilt for Oliver. It's a relief to see Indrans not play him too seriously. Oliver is, after all, someone who doesn't make a huge deal about all the conflicts he encounters. He has a sense of humour, and in some cases, he is not even trying to invoke laughter. It just happens organically, and who better than an actor blessed with an incredible flair for comedy. One of my favourite moments in the film has Anthony approaching a superstar named Vishal (Anoop Menon) to pitch his script, and he sees that the former has taken a liking to Oliver instead of him. Another wonderfully comical moment has Oliver accompanying his best friend Suryan (Johnny Antony in another hilarious performance) to a psychologist (Vijay Babu, vibrant as usual).

I must give #Home props for using this last stretch to address India's mental health stigma. Though initially apprehensive about the thought of anyone seeking expert help, Oliver doesn't take too long to warm up to the idea and eliminate whatever misconceptions he may have - learning the difference between a psychologist and a psychiatrist, for instance - even when his friend remains severely sceptical. The film makes some pertinent points even when the delivery seems straight out of an awareness video at times.

However, one thing that puzzled me is the choice of music in several places. I wonder why the makers chose to overstuff the film with generic, unmemorable tunes to inform us of the emotion of each scene? Since most actors here possess the gift of subtle expression, it's awkward when each performance gets constantly underscored by a corresponding piece of music to tell us what we are supposed to feel at a given point. Isn't everything evident without the inclusion of music? Not that there is anything wrong with using it -- it's cinema, after all -- but it would've worked better in moderation for a 160-min duration film. The familiarity of some musical choices begins to wear one down after a point. Sometimes the music is as intrusive as Charles' noisy demands.

Fortunately, the film's heavily poignant ending redeems its minor shortcomings. It got me teary-eyed in a way that no other recent Malayalam film managed to do. I must thank the makers for doing a film that helps reverse, to a certain extent, the after-effects of some of the dark Malayalam thrillers released recently.  

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‘Home’ review: A heart-warming experience that lingers on – and on

Rojin thomas’s family drama is out on amazon prime video..

Rojin Thomas’s Home promises a heart-warming experience and achieves both a heart-warming and seat-warming experience. The Malayalam drama on Amazon Prime Video comes in at an extended two hours and 41 minutes, delivering feel-good vibes, observational comedy and homilies about life and family.

The storytelling is as unhurried and old-fashioned as the hero, a techno-illiterate man who has fallen behind in the age of the smartphone and social media. Oliver (Indrans) lives with his father (Kainakary Thankaraj), wife Kuttiyamma (Manju Pillai) and son Charles (Naslen) in Thiruvanthapuram. Oliver’s older son Anthony (Sreenath Bhasi) is a filmmaker struggling to complete his second movie.

Suffering from writer’s block, easily distracted by the pings and beeps emanating ever so often from his phone, and anxious about his impending marriage to girlfriend Priya (Deepa Thomas), Anthony fails to notice his father’s fumbling attempts to reach out to him. Anthony’s dismissive attitude towards the nondescript and frequently tongue-tied Oliver is in stark contrast with his admiration for Priya’s high-achieving father Joseph (Sreekanth Murali).

Wounded by his son’s open contempt and Charles’s occasional sneering, Oliver pours out his woes to his hypochondriac childhood friend Suryan (Johny Antony). Oliver’s attempts to master the mysteries of the smartphone lead to a series of misadventures that are embarrassing for Anthony but revelatory for Oliver.

Thomas’s screenplay plays out like a limited-episode series crunched into a movie. Home attempts to reach a meeting point between rootedness and individualism, personal contact and the new-fangled but distancing seductions of the smartphone.

Gentle comedy about human foibles is balanced with folksy wisdom about the importance of family ties. Oliver Twist’s journey of self-discovery and his own back story (including the one about his unusual name) prove that he is more hip than square, despite what his son thinks.

Thomas treats deep wounds with a bandage that has a smiley stuck on it. A less cheerful movie might have been more harsh on Anthony, who often comes off as being obnoxious to Oliver. Even Anthony’s girlfriend suffers the blast of his disdain – a situation that resolves itself without any damage to Anthony.

With compromise rather than confrontation in mind, Home focuses on creating relatable situations and amplifying the excellent chemistry between the ensemble set of actors. The movie’s hero is unmistakably Indrans, one of cinema’s finest chameleons.

Indrans’s superlative performance is both understated and attention-grabbing, minimalist in gesture and expression and maximalist in impact. The rest of the cast is on a roll too, helping Home reach its destination despite its numerous detours.

• Home movie review
• Rojin Thomas

‘The Girl in the Pool’ Review: Freddie Prinze Jr. Tries to Hide His Mistress’ Corpse in a Schlocky Thriller With More Laughs Than Suspense

A married man struggles to keep party guests away from a hastily-hidden dead body in this delightfully trashy affair.

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Gorman and screenwriter Jackson Reid Williams pile on gimmick upon gimmick, beginning the proceedings with Thomas in media res, furiously scrubbing his blood-soaked sins away in the shower. His plight unfolds in a non-linear structure, switching back and forward on the timeline. While it’s never confusing, these flashbacks mostly provide cringe-worthy details (like hearing Thomas’ incel-ish best friend call him a “Beta” after not breaking the annoying neighbor’s camera drone) rather than add clarity to the present, which can also be fairly outlandish considering they quote Gandhi and say Prinze is “like Vin Diesel with hair.” Audiences will feel their bodies recoiling, hearing Thomas and Hannah’s smooching sessions punctuated by the actors’ hilariously loud lip-smacking. And superfluous events, like Hannah’s home tour where she slinks around the master bedroom and closet in her skivvies while destroying Kristen’s clothes and messing with her jewelry, call the film’s perspective into question as Thomas has no clue she ever did such devious things.

There are moments where Gorman and Williams lean into the inherent comedy of Thomas’ precarious situation. The scene where he grabs a large decorative vase after hearing strange noises outside before being surprised by party guests loosely functions as a setup for when he, in all seriousness, pulls a gun during the film’s mind-numbingly ridiculous resolution. Prinze plays the comedic undertones perfectly, specifically in the scene where he convinces his crew to return to the party after catching them smoking weed while sitting on Hannah’s makeshift coffin. It also doubles as the filmmakers’ spin on the unbraced sink scene in Darren Aronofsky’s “mother!” where anxiety and nervous laughter are birthed. Plus, the sharp cut from inside Thomas’ coke-fueled confusion, where his children observe him acting like a cat mesmerized by the DJ’s light machine, is a high point in the film’s lunacy.

Still, the filmmakers fail to properly construct suspense. The antagonistic relationship between Thomas’ obnoxious pals Randall (Jaylen Moore) and Mike (Michael Sirow) stalls immediately. Hushed secrets between Alex and Kristen aren’t developed enough for us to believe their whispers are stoking Thomas’ suspicions. Potter and Prinze, who previously starred together in the rom-com mystery “Head Over Heels,” are dealt a disservice by the lax material; their dynamic doesn’t generate much of a spark. It’s also difficult to buy a completely unmotivated turn by William later in the film.

Tone is key in films this silly. So when these filmmakers don’t hit a precise tone, despite their ensemble’s straight-faced delivery of hokey dialogue and clichéd scenarios, the picture flounders. Shifts from silly to serious occur frequently, though the thriller is better served when it keeps the proceedings buoyant, having us root against the hero instead of for him. Gorman takes a decidedly regressive approach to the conclusion, pulling strands of inspiration from Adrian Lyne’s “Fatal Attraction” in hackneyed ways. Nevertheless, even the poor form of “The Girl in the Pool” is sufficient enough to garner more than a few cackles to keep viewers invested in its wildly stupefying journey.

Reviewed online, Los Angeles, July 19, 2024. Running time: 89 MIN.

• Production: A Quiver Distribution release in association with BondIt Media Capital and ETA Films, GMT Films, Elevate Media Partners. Producer: Larry Greenberg, German Michael Torres, RJ Collins, Eric Brenner. Executive Producer: Berry Meyerowitz, Jeff Sackman, Freddie Prinze Jr., Nicole Rio, Johnathan Gorman, Matthew Helderman, Tyler Gould, Luke Taylor, Jordan Kessler, Ted Beck, Ryan Santwire.
• Crew: Director: Dakota Gorman. Screenplay: Jackson Reid Williams. Camera (color): Alonso Homs. Editor: Rob Bonz. Music: Adam Bosarge.
• With: Freddie Prinze Jr., Monica Potter, Gabrielle Haugh, Brielle Barbusca, Tyler Lawrence Gray, Kevin Pollak, Jaylen Moore, Michael Sirow.

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