Watch Meadowland For Free

If you don't like this, we can't be friends.

Admirable film.

The first must-see film of the year.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

I think it would be, at least...The movie is pretty much flawless, thanks to a wonderful work of Reed Morano in her directional debut and to the writer, also a debut, Chris Rossi, that delivered that beautiful and sad story.A good director can save a shitty cast... A wonderful cast can't work with a lousy director. Don't know why i wrote that, 'cause there's nothing to do with the movie! Maybe, I was preparing my queue to say that the cast was also brilliant.Olivia Wilde, Luke Wilson, Giovanni Ribsi, John Leguizamo, Elizabeth Moss, Juno Temple... The boy... Ty Simpkins... This boy is everywhere! From blockbusters to smaller movies... Literally, he's in the biggest Box Office of the year and in the one of year's most praised movies by the critics. Still, I think he needs do more, play more parts, before he can be called a great actor.As I was saying, with that amazing cast, the movie could have at least more ten minutes. Leguizamo and Ribsi... Man I love them... They are that guys who do an awesome work in comedy... You recognize them, you recognize the signature, is good, you love it... Then, they do a drama, and you are like "How is that possible? How can they be that funny and be also so great in that drama?". It goes to Luke Wilson also. I don't think he is funny at all, but he is more then the guy in Legally Blond... And the rest of the cast... One scene with Elizabeth Moss, a great scene... One with Juno Temple, also a very good scene... BUT, after all, was a movie about Olivia's and Luke's character. The focus were in that couple that passed through grief in its on terms. Man that movie hurts sometimes.Allow me to make a comparison. We have Reed's Meadowland (2015), on the red corner, and John Cameron Mitchell's "Rabbit Hole" (2010), in the blue corner. Both movies are about a couple trying to deal with the loss of a son. Meadowland has 105 minutes, including credits, while Rabbit Hole has 91, also with credits. Still, I feel like Rabbit Hole is the longest movie that I've ever watched in my life. AND I WATCHED THE EXTENDED LORD OF THE RINGS TRILOGY IN ONE WEEKEND! Rabbit is a sad movie and most of the time you just have to look away 'cause you are sick of it! Meadowland is a completely different story. I mean, the story is very alike, still is a different story, but what I meant was that "This is not the case with 'Meadowland'".Meadowland is a sadistic voyeurism. You watch that couple "deal" with their loss, you watch'em "try" to move on, you watch'em hurt 'emselves and each other, you watch they grow apart, you watch Phil receiving alone the news about his son's death, while Sarah is f*cking the foster-father of the boy who she's obsessed with. AND TRY TO GO WITH THE KID TO AFRIKA! MAN THAT IT HEAVY STUFF... And still you're not able to blink, or even breathe sometimes through the movie, 'cause you don't want to loose anything. And it is over. You want more, but the story came to its end. You had the start, the development and the end. It came in a straight line, a clear path, but all you can think is "... man, I wouldn't mind to know a little bit more of the rest of the characters, as Tim or Alma, or Even Joe and Shannon..." But this movie is about Sarah and Phil, and in that case, mission accomplished.As an epitome, "Meadowland" has the greatest performances of from the two protagonists, and a perfect debut from the director and writer.

The movie did a great job in hitting the main conflict trigger so early at the start point. And after that we get to see the devastating effects of how non-reconciled loss can lead to turmoil little by little. In it we get to see superb acting done by Olivia Wilde and quite a balanced job by Luke Wilson. The other cast members also helped much in keeping the mood constant all the way through. Ty Simpkins did well in depicting the Adam's symptoms. Giovanni Ribisi succeeded in creating a character that's complicating things up, while John Leguizamo, Elisabeth Moss and Kevin Corrigan also put up well in their parts. Yet the movie seems so much lacking in the story development, as we see Phil and Sarah repeat things up so very often without any significant twist or turn. This makes the ending to be a disappointment as it's really something one predicted even from the movie's start.

This film was heart wrenching but beautiful.It's a look at the story of how a couple cope with the loss of their son, and the pernicious effects of grief over time. The title itself, Meadowland, seems to be the mental land where the suffering protagonists go to escape, the dream land that exists to maintain the last shreds of hope in the face of overwhelming pain.It makes an excellent job of conveying the gradual deterioration of the ability to cope with not knowing, not being able to say goodbye and the juxtaposition of the need for closure with the incredible fear of accepting the inevitable.It's brilliantly acted and well scripted. The pace is slow but filled with mounting intensity. The film holds its breath, never spilling into melodrama, but holding in an enormous sense of tension and conflict, thus creating a direct line of empathy for the situation of the main characters.But it's not all doom and gloom, well it is all doom and gloom, but it examines that darkness at the place from which it emanates; love.Poetic and sincere.

One of our few female Cinematographers Reed Morano steps behind the camera in a different way to make her directorial debut on "Meadowland," written by Chris Rossi in his screen writing debut. Starring Olivia Wilde and Luke Wilson, the film tells the story of Sarah and Phil, a couple who suffer an unimaginable loss and deal with the grief, loss, and hope in two completely different ways. Phil's own moral compass is challenged while Sarah begins to deteriorate, falling deeper into herself and losing all hopes of coming back. "Meadowland" is a methodical and at times very compelling film that presents an intimate portrait of grief and hopelessness.Reed Morano hawks back to similar feels of films like "Shame," capturing a long shot within a New York street or "Half Nelson," deconstructing the mind of a struggling educator with a student in need of their own guidance. Morano frames the film spectacularly, as you could expect no less from the woman who shot "Kill Your Darlings" and "Frozen River." She appeals to our sensibilities as humans, and puts forth authentic reactions and behaviors of two human beings that can't imagine a world that their presently abound. That's also thanks to the palpable tension and drama set by scribe Rossi. These are two of the strongest debuts by a writer and director team seen in quite some time.Challenging Jessica Biel ("Bleeding Heart") as our Hollywood hot girl taking on an indie film and knocking it out of the park at Tribeca, Olivia Wilde is electrifying. Standing out in her own way in films like "Her" and "Rush," Wilde finds her niche, accurately portraying a mother on the verge of breaking down but desperately searching for something to keep her afloat. Wilde delivers her finest acting performance of her career yet and is simply astonishing. There's so much that Wilde reveals in subtle moments of silence, whether its watching "Wheel of Fortune," or observing a boy struggling to make friends, she keeps things bubbled to the brim without spilling over. A tremendous and extraordinary actress has emerged.In one of his most serious and heartbreaking roles, Luke Wilson surprises as the effective Paul. He internalizes much of the grief that lives within his veins and in certain moments, unleashes them but not in the stereotypical bombastic manner in which you'd expect. It's a real and intelligent portrayal, devoid of happy endings and clichéd heroism.John Leguizamo is taking on an indie market again and its fantastic to see. Building even more excitement for a career post-Mad Men, Elisabeth Moss is superb in a brief role that should have been expanded beyond what was given. Returning to his roots, Giovanni Ribisi excelled in smaller films until Seth MacFarlane got his claws on him for TV and "Ted" (which admittedly he's hilarious in). As Tim, Paul's drug-recovering brother, Ribisi begins to revive the talents that made him so amazing in his early years of his career. In smaller roles, Mark Feuerstein, Merritt Wever, and Juno Temple all get their moment."Meadowland" is a fascinating piece, sometimes subtle in the way it presents its material, other times bombastic all leading to a finale that speaks multiple volumes about our own innocence. It's a film that will hopefully find a home with someone caring enough to nurture it into the right audiences.