There's been quite a lot of traction with this one, in terms of featuring on ignored films of the year, best of, etc.

Essentially this film deals with grief and how we respond to it, and critically, how it affects our relationships.

This is a slow, dialogue-driven movie (no need to apply, Jeff). Jokes.

Anyway, we start 8 months after the incident and arrive at a couple who have seemingly dealt with this situation well. What happens over the course of the movie is the manifestations of how Nicole Kidman and Aaron Eckhardt have actually dealt with those initial months. They spiral into differing directions and some interesting plotlines develop. It's a tense movie that certainly holds your attention and it's very real which accounts for its understated approach. The problem this gives us as an audience is that we have given mere morsels to hang onto and passion is low. There is a scene in the kitchen towards the end where Eckhardt loses it and this is where the film kicked into a gear that it failed to do so either side of this explosive moment. That's a shame. It felt like the director worked so hard on crafting a film that appears ready to boil over (and to be fair, the subject matter demands it) and reach a fever pitch of emotion and yet it never reaches it. For me, that was a failure to capitalise on some good work.

While it's inarguable that this film is raw and real to some degree, I do feel as though it's failure to notch up the passion and kick us in the guts is what stops a very good film becoming an excellent film.

I would definitely recommend watching this... unless you're Jeff.

Sorry Jeff. I love you really. In a big, hairy manly way.

Andrew,

Thanks for starting a thread on this film.
I was considering doing it, I'm glad someone else thought of it.
Rabbit Hole isn't getting too much attention on the awards circuit.
It doesn't have amputee real life figures or billionaire nerds or action dreamscapes.
What Rabbit Hole does have is one of the best constructed dramas of the season.

There were two indie films about parents dealing with the loss of a child this year.

1) "The Greatest" starring Pierce Brosnan and Susan Sarandon
2) "Rabbit Hole" starring Nicole Kidman and Aaron Eckhart.

Ever heard of the first one? More than likely not. It was a syrupy cry and scream fest.
It has those "You know what's wrong with you? I'll tell you what's wrong with you!!!"
Those are the kind of scenes that drive me to reorganize my sock drawer.

Some folks like their drama telegraphed, no sides, no judgement, just watch.
I prefer something more subjective and Rabbit Hole fits that bill for me.
It's kinda like the Black Swan to The Greatest's Inception.
Except, I liked Inception despite the 30 minute exposition anchor around my neck.  
In that context, Black Swan does not explain its dreamscape, you explore and decide.
I think its a braver choice, if you're fine with not having definitive answers.
I like not having definitive answers, because I will replay the film.
On repeat viewings, my opinions may change or expand, love that stuff.

Here is where I will slightly disagree with you, Andrew.
I do think Rabbit Hole is for the better without the boiling over scene.
I was fascinated by the internal dances these characters did to evade the pain.
Because they know, no matter how many times they fly apart, it never goes away.
Grief can define you, if you let it, or, negotiating with it will help you keep going.
I don't see the lack of explosion as a failure, to me, it's a triumph.
I'm grateful they shied away from the Emril Lagasse school of drama.
No amount of yelling would match Kidman connecting with her child's killer.  
The only person she can genuinely communicate with because of what they share.
Sandra Oh deserves props for turning in an effective non flashy supporting turn.
Dianne Wiest does a stellar job as Kidman's mother, their energy is palpable.

I think this is an impressive add to the director's resume.
John Cameron Mitchell is best known for Hedwig and the Angry Inch.
I'm thrilled to see him break new ground with this film.
This is one of my favorite films of the year.
It's a tough watch that challenges the viewer by veering away from cliches.
It makes you sit in the room with the proverbial elephant and simmer.

Thanks again Andrew for starting this thread.

Regards,
E.D.

A very thoughtful post, ED. I do agree with you in the main. I do think this is a very good film.

The lack of a defining moment can of course be viewed as a step away from melodrama and a move towards 'real'. I agree that Sandra Oh gave an excellent turn. That said, the plotline there, in and of itself, is a cliche. I just feel it chose the wrong cliches to get the most from its inherently emotional subject matter. This movie certainly did not avoid entering familiar territory - as an exploration of the disintegration of a relationship, I do feel 'Breaking and Entering' from Anthony Minghella was subtler version of what I feel this film was going for. It's not so much that this film didn't deliver a knockout punch that was the problem, but moreso that it seemed to build to it and then just fell flat. I disagree that it was challenging, actually. It was engaging and thoughtful instead, to my mind.

Quoted from Andrew A very thoughtful post, ED. I do agree with you in the main. I do think this is a very good film. The lack of a defining moment can of course be viewed as a step away from melodrama and a move towards 'real'. I agree that Sandra Oh gave an excellent turn. That said, the plotline there, in and of itself, is a cliche. I just feel it chose the wrong cliches to get the most from its inherently emotional subject matter. This movie certainly did not avoid entering familiar territory - as an exploration of the disintegration of a relationship, I do feel 'Breaking and Entering' from Anthony Minghella was subtler version of what I feel this film was going for. It's not so much that this film didn't deliver a knockout punch that was the problem, but moreso that it seemed to build to it and then just fell flat. I disagree that it was challenging, actually. It was engaging and thoughtful instead, to my mind.

A thoughtful reply from you, indeed. Thanks for the compliment.
I'm glad we both found a lot to take away from this film.
Now we need to give it to others so many more will see it.
It's lackluster boxoffice is killing its chances of garnering awards.

E.D.

I read the script yesterday before watching the movie. TBH, the script was better than the movie. The movie wasn't bad but some scenes made a lot more sense. I remembering Howie being in the script a little more.

And Nicole Kidman's acting, an oscar nomination? There were at least a dozen moments where her accent just suddenly became Australian, like specific words. I'm not sure why I noticed but I want to rip my ears out when I heard it. 30 years of acting and she still gets words wrong!

Best known for Hedwig, but Shortbus is Mitchell's best work, in my opinion

I think I'd be more in line with Andrew in terms of my reaction. I was waiting for that big moment, a little bit. However, this is a great one, a unique one, and definitely one we should all see.

Nicole Kidman is god.