OxfordPress.com

Grade: A

Verdict: The downer of the year — and an absolutely beautiful one at that.

Details: Starring Tom Wilkinson, Sissy Spacek and Marisa Tomei. Written and directed by Todd Field. Rated R for violence and profanity. Two hours, 10 minutes.

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Review: The most heartbreaking movie of the year — and easily one of the best — the independent drama “In the Bedroom” requires a moviegoer's full-on commitment.

Its subject, shattering violence that strikes a middle-class Maine family, is deeply painful, devastating and tragic. Its pacing is slow, methodical. Its performances are mesmerizing, gut-wrenching.

Funny that it debuted in major markets on Christmas. Joyful? Uh-uh.

The payoff, though, is that you'll experience an exquisite movie. You'll watch and appreciate gifted actors like Sissy Spacek, Tom Wilkinson (“Shakespeare in Love”) and Marisa Tomei (Spacek and Tomei were nominated for Golden Globe Awards last weekcqDec. 20) performing at the top of their craft. Yes, that Marisa Tomei. You'll discover a fresh directing talent, Todd Field, who fashions film with a painter's eye and steadfastly allows his movie time to breathe, to resonate, to sink in till it rattles a viewer's bones.

“In the Bedroom” is about intense emotional pain: The living with it after the unthinkable strikes. The inability to deal with it. The numbness it creates. The eventual rage that erupts. There are really no good or bad people in this movie. Simply, there are flawed ones.

Based on the short story “Killings,” it's the tale of a Maine husband and wife (Wilkinson and Spacek) faced with hellish tragedy, of young love sliced through the heart and the aftermath that can consume and devour human souls.

Admittedly, that's not a lot of precise detail about the movie's plot. But it may be too much. This kind of film is best witnessed with a minimum of upfront revelations.

Field, who also adapted the screenplay, has expanded on the short story and placed it in a land he obviously understands and loves. He makes magic with his camera, turning it toward an odd bridge ritual or framing a devastated father's feet through door glass while he climbs the stairs.

Field sets us up so well to receive the movie's many remarkable moments.

He introduces a poker game that induces laughter as a usually quirky man recites silly poetry. But just when it looks like that same poker group, reassembled after tragedy, is headed toward more foolish poetry and laughter, Field flips it. This time, the man recites the wisest of words, which Field's camera underscores with a simple meeting of two knowing glances.

Wilkinson and Spacek, recently honored as best actor and actress by the New York Film Critics Circle, often are riveting. They speak so much through their eyes. Film industry buzz has it that Spacek's already one of the front-runners for an Oscar. That's deserved. But Wilkinson is her equal. It could even be argued that it's more his film than hers.

All that praise said, “In the Bedroom” does take an unexpected, even disturbing turn. I'll admit that the first time I saw the movie I had big problems with decisions some of the characters make. I've seen it two more times since. All my mental wrestling is done.

“In the Bedroom” is a movie about as perfectly crafted and performed as you're likely to see this year.

“Amélie” is indeed more fun. It makes you want to smile and hug somebody. “Lord of the Rings: The Fellowship of the Ring” is also more fun. It pumps up your adrenaline, entertains the heck out of you and makes you want to see it again.

“In the Bedroom” won't make you smile very much. Few would ever call it entertaining. It's not that kind of movie. It's just a great one.

— Bob Longino, (none)