"Birth" opens with a scene of surprising emotional magnitude that is driven entirely by its score. Instantly and viscerally evocative, the elaborate orchestration -- which plays over a long tracking shot following an anonymous jogger through Central Park during a beautifully moody snowfall -- is a curious, captivating combination of flute, triangle, French horn and (quite startlingly) tympani that has an uplift and an ominousness at the same time.
This gripping music, by the brilliant Alexandre Desplat ("Girl With a Pearl Earring"), does all the work in this scene until the man -- seemingly young and healthy from behind, which is all we see of him -- pauses suddenly, then collapses under a bridge.
The next scene takes place 10 years later. The jogger's widow, Anna (played by a serious, sophisticated, melancholy, unabashedly pushing-40 yet intriguingly elfin Nicole Kidman) is about to get married again, to Joseph (subtle, pensive Danny Huston), a man who is really more a hopelessly devoted dear friend than he is a lover. Soon after their engagement party, a somber 10-year-old boy (Cameron Bright) sneaks into their grand Park Avenue apartment and refuses to leave. "You're my wife," he tells Kidman. "It's me -- Sean."
Continue reading: Birth Review
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