Ree has enough to deal with, even before she finds out her house is due to be taken away. She's just seventeen, and stuck running the household, with two younger siblings to feed and a catatonic mother to care for. She does a good job, given meager resources - but her father's been away a long time, out on bail for cooking crystal meth, and he put up the house and the land as collateral. The only thing for it is to find him, and nobody wants to help, and she comes to see that knowing can be dangerous.
For a small-scale, low-budget, independent feature, the film looks great: the desolate beauty of the landscapes, the delicate montages of the two innocent and largely unaware siblings engaged in resourceful play, the authentic settings, and the seasonal lighting. The film as a whole is richly imagined, with strong performances and an unsettling mood. The story is strong, managing to convey without exposition or voiceover the tension that exists in this region between a rich folk tradition and a stark economic necessity that has driven many of the locals to support themselves through the illegal drug trade, and the tension between familial loyalty and the need for self-preservation. At times it felt like perhaps the screenplay was too good - it aimed so deliberately at economy of exposition that the characters become something like vernacular poets, able to convey a wealth of details with a minimum of words. Still, the sense of mystery that drives Ree's exploration is sustained throughout, and kept me on the edge of my seat and caring throughout.
Jennifer Lawrence immersed herself thoroughly in character as Ree, and her uncle "Teardrop" was brilliantly played by Tom Hawkes, who always seemed more vulnerable in other roles I've seen him in, such as Deadwood, but he's fierce here, and convinced me as someone you wouldn't want to mess with. What I found perhaps most fascinating was the characterization of some of the other women in the story, who serve as gatekeepers to the clan leader, Floyd. They seemed at first heartlessly vicious, but it struck me later they didn't like to be violent and saw their brutality as a kind of kindness, intended to protect. A powerful film, that stands up well to similarly powerful films such as Trouble the Water and Undertow.
I am not exactly sure how I am going to begin a review on director Deborah Granik’s “Winter’s Bone”. The film is so undeniably simple at first impression, doubtless those folks who have seen a good number of genre films and independent movies have come across movies with strong similarities. Yet, I find this film quite compelling and effective with how it develops its story. Depressing films have the strong potential to be brilliant no matter how simple its premise is; and … more
A few years ago, I read Daniel Woodrell's WINTER'S BONE and found much to admire. Set in the most destitute portions of our nation, the Ozark country of southern Missouri...it told the story of young Ree Dolly, a 17-year-old girl and her desperate efforts to find her missing father and bring him to court before his bail is revoked. Because the bail her dad put up was the deed to the Dolly house and land. This would have left Ree and her two young siblings and her mentally ill mother homeless. &nbs … more
WINTER’S BONE Written by Debra Granik and Anne Rosellini Directed by Debra Granik Starring Jennifer Lawrence and John Hawkes Ree Dolly: Never ask for ought to be offered. WINTER’S BONE tells you immediately what tone to expect for the duration of your journey. Two young children bounce up and down on a trampoline that sits outside a dilapidated wood cottage that is surrounded by discarded playthings and car parts. A folk waltz about … more
"Winter's Bone," adapted from the novel by Daniel Woodrell, is a stark, raw, and gritty masterpiece of storytelling, a thoroughly absorbing detective story that goes above and beyond the reliable conventions of mystery solving. It's a quiet, harsh, and unflinching societal drama set deep within the Ozarks, a world of cold forest lands, small houses that look slopped together from spare parts, cars perpetually hoisted on cinderblocks, and distrustful mountainfolk who all seem to … more
Deep in the backwoods of Missouri, 17-year old Ree Dolly has a hard life; she's raising her siblings, caring for her mentally-ill mother, and running the house all by herself. Her father, a meth cooker, has jumped bail and the family will lose their home if he can't be brought in to the law so Ree must go to all of her kinfolk for help, even though she knows their code of silence is enforced by beatings - and worse. This low-budget film is excellent, reminiscent … more
Talk about dreary! Basically what we have here is a brilliantly acted, well-directed film with an insightful screenplay. The story, which takes place in a sort of white trash paradise, is full of quiet moments of reflection and desperation. If you want a feel good film, look elsewhere. This one is for the Gloom Patrol. I liked it.
Ree is a 17-year-old girl who lives with her mother and two younger siblings in Missouri hillbilly country. For some reason -- if it was explained, I missed it -- her mother is almost comatose so Ree is in charge of cooking and cleaning and caring for her 12-year-old brother, Sonny, and her 6-year-old sister, Ashlee. Ree doesn't go to school -- I suppose it's possible that she's already graduated -- and she'd like to join the military, but her family obligations make this impossible. … more
Winter's Bone might be the best movie I've seen this year, or even last year. There's not a false note in acting, directing, design, photography - just not a false note, period. It's America as the third world - lest we forget every Shining City on the Hill has it's shanty towns - but it doesn't romanticize the hard-scrabble lives these characters live. It's also America as the Dark Ages with warlords, forest families, and mayhem. And, it's the back country mafia hard at work cooking and selling … more
Family loyalty and self-reliance take on whole new meanings in this dark story of one family's desperate struggle to survive in the Ozark woods of southern Missouri. Day-to-day life is tough in the economically depressed, unforgiving harsh rural landscape that's home to the extended Dolly clan, but it's made much tougher thanks to their history of cooking crank and deep involvement in the local drug culture. For Jessup Dolly and the other men of the family, looking out for oneself has become the first priority. Seventeen-year-old Ree (Jennifer Lawrence) has been caring for her mentally ill mother and her two younger siblings while her father runs from the law. Ree has been managing OK, but when the sheriff shows up with news that her father has put the house up as bond collateral and is unlikely to show for his court date, things get desperate. Ree is well aware of the family code of silence, but desperation forces her to confront her relatives in search of her father, regardless of the personal consequences. One by one, Ree's relatives refuse to help, protecting themselves even at the cost of one of their own. This is a dark, often violent film that doesn't shy away from the harsh realities of the manic drug culture permeating some rural areas of the South. It is intense, emotional, and extremely effective: it is at times simultaneously uncomfortable to watch and paradoxically riveting. Jennifer Lawrence, John Hawkes, and Dale Dickey deliver phenomenally ...