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I don't have all the words right now but this film is a work of art.

In truth, there is barely enough story here to make a film.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

This movie probably never made a blip on the radar screen, but it's got quite a bit of quality. It's pretty lifelike, yet you think "It's only a movie." Duvall and Close portray common people, and you'd never even realize they are now big-name actors. It seems that the jerk in this story is a little too old to be chasing Eugene's girlfriend, but I guess it's possible. It seems unlikely that the kid would travel from Montana to Nevada by himself, but I guess it's possible. You might think that the family troubles in this movie would never happen in your own family, but I guess it's possible. I remember Glenn Close saying something like "You think the work you do is the hardest part of your life, but it isn't."

Here's yet another film from the 80's that most people just don't know exists. This slow, picturesque (the loving shots of the Montana landscapes are breathtaking and reminded me of Costner's recent "Open Range", which also starred Robert Duval), and emotionally satisfying film is the perfect type of movie to watch late one night when you can't sleep or on a listless Sunday afternoon. Those in the right mood will be treated to a finely detailed and intimate look at the grief of one family and how they come back together after the youngest son accidentally shoots and kills the eldest son while hunting. The performances are all top notch and quietly nuanced. Glenn Close, Robert Duval, and Wilford Brimley are pitch perfect in their portrayals, as are all the supporting players and young actors. I especially liked how director Cain (who unfortunately hasn't directed anything of note since this except the first "Young Guns") gives us quiet little glimpses into everyone's personal grief. We don't just see how the death effects the younger brother or the parents, but also the confused middle sister, the wayward uncle, his crazy wife, and the dead teenager's girlfriend. What we essentially get here is the rural Mid-Western answer to "Ordinary People." There's also shades of David Lynch's "The Straight Story" in some of the stoic downhome Mid-West morality of the folks depicted here and also in the lovingly haunting shots of the farmland they inhabit. This is one of the better and more realistic "tear-jerkers" of the era, and a nice little find for you quality movie hunters out there.

Both Robert Duvall and Glenn Close played their roles with such believability, I simply cried. Glenn Close's role as Ruth, showed her wanting to deal with the situation, but she was under the domination of her husband. "Let him think about what he did," Robert Duvall's character, Joe, said staunchly. The story depicted a rural family dealing with an accidental death of a son by his brother, called "The Stone Boy," meaning he was so distraught and overwhelmed by what he did, he became emotionally paralyzed. Then towards the end when Jason Presson's character, Arnold, let it all out to a stranger, I was so broken hearted for him, that I actually thought of some of the terrible things that I did in my life. I personalized and identified with his character. Frederick Forrest's and Gail Youngs' roles, did NOT add not much to the film. I thought of Frederick Forrest, who played Ruth's antagonistic, womanizing brother, Andy, as a jerk who did nothing to try to help the situation. His wife, Lou, played by Gail Youngs, acted like a crazy-lady smacking Arnold around out of frustration with her own problems without pity and blaming him for her troubles. I could NOT really feel sorry for these two. Though Lou tried to keep her marriage together, she was unsuccessful. Both did NOT deal with their problems effectively. They really did NOTHING for the film and were totally ridiculous. Wilfred Brimley's minor role as the grandfather was, touching for he was the only character that showed Arnold any attention. I felt his role should have been elaborated. The players were just doing what they felt was adequate and sufficient. However, I really liked the ending so much, I actually smiled and cried tears of joy. I felt good. The Hillermans were a family again. I actually wanted to be a part of this family. They were so realistic.

I don't think a movie like this would be released today. It takes it's time to present the depth of the characters and the plot isn't full of twists and turns to keep you on the edge of your seat.But, what this film does have: an interesting study in how families' deal with grief. How when the language for healing and over-coming tremendous loss leaves us mute, and we rely on raw emotions instead. Grief without reason and patience is anger, even hate. And unfortunately, the lead character (a young boy who accidently shoots and kills his brother while hunting) in the film is given more than his fair share of it. He eventually leaves and moves in with his grandfather (Wilford Brimley) who makes it clear to him that it WAS an accident. I got the impression that this young man knew that in his heart, but needed to hear those words from his parents, and to receive their forgiveness.What I loved about this film: the lack of dialog. There was a tremendous emphasis on physical reaction, facial expressions. And the slower pace of the film allows you to really watch the reactions of the actors. Something we don't get to do alot of with today's films.