Reviews for Wildlife ( 2018 ) 720p


By: payman-47053
Calling this so-called movie, rubbish is the politest you can get. Such a waste of whatever!

Watching paint dry

By: linda-93355-37097
Labored through this dry family drama. I really cannot say I found it entertaining, it was pretty boring. A big dry Yawn that survives only by the names of the main actors.


By: kerrydavut
This movie did not deserve the 7.2 rating it received. Although the acting was good, It was very depressing, boring and I would not recommend this movie to anyone. It was a waste of two hours of my life! Don't waste your time people. It lacked substance and credibility. Such a let down. Seriously crap!

2 stars just for the cast

By: disdainisme
Great cast. Terribly written and so slow it actually made 2 people fall asleep. I get what they were going for but they really missed the mark. It was a pretty annoying movie. A lot of hype for this film so I was happy to see it. When you see people leave mid way its a terrible sign

This is an easy skip..

Slow and boring

By: windsorenquirer
Extremely slow and boring. It was like watching paint dry.

Seriously don't waste your time

By: kimo_uae
It's my first time to review a movie, it's just waist of timeMovie is good to keep you expecting something will happen but seriously nothing will happen at allWaist of time and big disappointment

Annoying Family Drama

By: beep-73926
Not much to recommend this film. The acting was good and the cinematography was decent but he story lacks any kind of hook to keep you interested. How many domestic disputes can we tolerate. Family dramas of any kind are now at the bottom of my list.

The worst part was the sound editing. The background noise, sound effects and music was much too loud and the dialogue parts were too low in volume. I couldn't hear a lot that was being said. No excuse for this sort of flaw. So, it's watchable, but not really listenable. Some actors should stick to acting and leave the directing to pros (Paul).

Excellent performances

By: kellybailey-23521
All actors are top-notch, and the kid is perfect. This film beautifully and subtly captures the upheaval felt by the son, and the parents' almost obliviousness to it.

Warning: Gyllenhaal is not the lead here

By: thejoudblitz
We see a boring family break apart from the perspective of the young boy. End of story. Safe to say there is no story, but there could easily have been one. Clearly the father is the most interesting character in "Wildlife". Being fired from a job that is not that good in the first place, he retains some of his pride and self-respect by refusing an offer to go back to that kind of work, an offer from the very same people who discarded him before. Instead he shows everybody and himself what it means to work hard, for little money, and do some good in the process. That is the story that should have been explored, not the son's take on things who, admittingly, acts admirable in the face of adversity, but is just not very interesting as a human being. Maybe it would have helped if the actor had any screen presence, or would have even remotely looked like his parents, for believability. Acting is great, from everybody in the film. Setting is awesomely done, camera work is fine. Score is not memorable, but that might be because the pace of the movie is so off, considering there was nothing to tell.

Give it a shot..

By: BatmanFunReviews2018
Wildlife was actually a very solid and fun as a whole drama to be honest and way better than i expected it to be as well. Jake Gyllenhaal and Carey Mulligan had a very good chemistry together and gave two very good perfomances too but the same goes for Ed Oxenbould as well and sure it's not perfect? But it's a promising directional debut by Paul Dano.

not as wild as i expected.

By: ops-52535
If your looking for comedy ,action or mystery in this drama,well then your walking the wrong doo, its pure drama and only that.

its about a tormented little family,bvased in montana in the late 1950's early 60's,jobs are hard to get,and the family life are like low on wd-44. there are boredom leading to adultery,that leads to a terrible heartbreaking conflict of confidence in their 14 year old son. its not screamed out,rather a silent victim of his parents choices.

its hard to choose side in this kinda movie,the unconscious says yes,but the better half says no.... it is a film where the filmography plays a great part of telling the story,and that are far above average.the acting are splendindly done by mr oxenbould,and gyllenhaal and ms mulligan have some powerfull dialouges when screaming at eachother. what i find difficult is the pace of the movie, far too slow, and the absence of both warm and cold feelings in this existential drama.its a 6 without doupt,and a bit reluctantly recommendable..

A confident and well-made directorial debut that's unfortunately pretty unmemorable.

By: Pjtaylor-96-138044
'Wildlife (2018)' is well made in every way, with its fantastic performances combining with its restrained but assured direction and solid but somewhat unremarkable script to paint a realistic portrait of a failing family seen through the slightly immature yet more world-weary than he's given credit for young lead. The piece isn't necessarily all that powerful, though, and is, sadly, pretty unmemorable, to boot. It's a bit of a strange case because I was invested in the story, characters and overall world right from the off, always involved in its twists and turns and feeling as though I was participating in its narrative (in the sense that I wasn't spoon-fed everything), but I literally forgot I had even seen the feature not two hours after getting home from the cinema, only remembering after being reminded what it was I'd just watched, which doesn't bode well for its overall lasting impact. It also marks it, perhaps, as an experience more adept at setting up a confident new directorial talent than anything else, one rife with opportunity for its actors to impressively stretch their 'acting muscles' and for its plot to portray a more nuanced view of its core players than we usually see in typical 'Hollywood' fare. Of course, your mileage will vary depending on how much it connects with you, and I'd easily reccomended giving it a watch at least once. 6/10

Brilliant Debut

By: kingsgrl2010
Directorial debut by Paul Dano, and a stunning one at that. A small but powerful film as it takes its time digging deeper and deeper into the destruction of a family seen mostly through the son's eyes. In this week in the point of this family's lives, we see each of them having a need to try to find their purpose in life. The quiet shots make this film. The small town feel and even the furniture in the house reminds me of my grandma's house growing up. Carey Mulligan shines, and Jake Gyllenhaal holds his own as always. The camera focusing on the kid in the movie (Ed Oxenbould) is just brilliant. By the time the last shot in the movie happened, I felt completely satisfied with the note that it ends on.

Old-fashioned filmmaking with a progressive theme

By: Bertaut
The directorial debut of actor Paul Dano, Wildlife is based on the 1990 novel by Richard Ford, and is written for the screen by Dano and his girlfriend Zoe Kazan (with Dano also serving as producer, and Kazan as executive producer). Looking at the implosion of a family from the perspective of a 14-year-old member of said family, the film is thematically similar to Revolutionary Road (2008) and Blue Valentine (2010), and aesthetically similar to the Texas scenes in The Tree of Life (2011) (the period detail drips off the screen, whilst the use of a child as the focaliser colours much of what's depicted). And although Wildlife is a piece of remarkably nostalgic filmmaking, at the same time, it tells somewhat of a progressive story. Subtly depicting an Americana on the cusp of massive social upheaval, the film demonstrates the uncertainty with which second-wave feminism manifested itself at a grassroots level prior to really taking off in 1963 with the publication of Betty Friedan's ground-breaking The Feminine Mystique. Although it's essentially a character study, the film also suggests the 1950s-style clean-cut, neatly trimmed, rigidly defined way of life, built around the perfect nuclear family wherein a wife must be subservient to her husband, is about to become a thing of the past. Understated, restrained, narratively precise, the film is emotional without being melodramatic, encouraging empathy without manipulating the audience.

Set in Great Falls, Montana in 1960, the film tells the story of the peripatetic Brinson family; father Jerry (Jake Gyllenhaal), mother Jeannette (Carey Mulligan), and 14-year-old son Joe (Ed Oxenbould). When Jerry loses his job and chooses to head north to fight a forest fire, something is awaken in Jeanette, who, for the first time, allows herself to admit she has become deeply unhappy. Nestled behind that simple narrative are the fledgling social upheavals, still very much in their infancy, that would characterise the duration of the 1960s, particularly the notions of what a woman's role should be in the home and the very definition of family itself. Initially, Jeanette is depicted as a quintessential 1950s wife and mother, almost to the point of cliché; she cooks, cleans, washes the clothes, does the dishes, sees that Joe attend to his homework, and when Jerry loses his job, it is Jeanette who goes out looking for work for both of them. She knows that her (unspoken and unacknowledged) role in this patriarchal society is to hold the family together, and it's a role that is nothing like she thought it would be when she was younger. Although she and Jerry seem to love one another, or they certainly used to, she clearly feels trapped by her domestic situation, so when Jerry takes off in a misguided attempt to reaffirm his masculinity by fighting a forest fire, something in Jeanette either snaps, or clicks into place, depending on your perspective.

That Jeanette's transformation happens so quickly is the key point; when she goes to bed, she's a wife and mother, trapped in her domestic environment, but when she wakes the next morning, she realises that she has an opportunity to escape, perhaps the best opportunity she will ever get. This has been building up for years, but she has gotten so used to feeling lost that when she gets a chance to change things, she doesn't even recognise it as such, at least not at first. Once she does, however, Jeanette makes a conscious decision to stop performing the role delegated by men. As much of the female population of the western hemisphere would be asking over the next ten or so years, Jeanette wants to know, "is this all there is?" She wants more than simply getting through the day. In this sense, she recalls Nora Helmer from Henrik Ibsen's A Doll's House, or any number of Tennessee Williams heroines - a woman who wakes up to find she has become deeply unhappy despite attaining everything she once wanted, and who sets out to do whatever it takes to alter her course. Determined to forge a new identity, she is adamant she won't become one of the "standing dead" (the term used for trees that survive a forest fire). The film may ostensibly be a coming-of-age drama, but Jeanette's existential crisis is the real meat and potatoes.

That all is not well in the Brinson household is hinted at in the opening scene, where Jerry and Jeanette have a couple of inconsequential but noticeable disagreements over dinner (such as whether Joe should continue pursuing football). This scene establishes an assuredness and subtlety-of-hand that lasts for the entire film, with Dano's directorial work proving unexpectedly sophisticated. For example, something he does several times is have characters walk off-screen to speak, whilst keeping the camera trained on Joe as he tries to listen, with the dialogue barely perceptible from just off the edge of the frame. As well as being an excellent use of off-screen space, something you don't see too often, this technique ties us rigidly to Joe's POV early on, inculcating us into his worldview. Another very nice piece of direction is an early montage cutting between Jeanette riding her bike, Jerry driving the car, and Joe riding the bus, in which each character is facing a different direction, each in isolation from the other two. It's basic cinematic shorthand, showing instead of telling, but it's very well done. Equally impressive is the penultimate scene, where Dano uses the windows of the Brinson house to block the characters in such a way as to suggest both their inner emotions, and the prevailing theme at this point of the film. For the most part, however, Dano's direction is invisible, relying far more on static painterly compositions than camera movement (which is not to say the camera never moves), and I was often reminded of the work of Edward Hopper.

The acting, as you would expect, is universally superb. On paper, Jeanette and Warren Miller (a superb Bill Camp), an older man who becomes romantically interested in Jeanette, are very much the villains of the piece, but Mulligan and Camp's performances are so full of warmth and genuine emotion that you simply can't look at them as antagonists, and the film itself never judges them. Camp is especially good in a scene where he tells Joe a story about switching off the engine of his airplane in mid-air so he could glide silently with a flock of geese. It could be a narcissistic boast, it could be a metaphorical bit of advice, it could be an attempt to win Joe over, or it could simply be a way to try to connect. In Camp's hands, it's all of these, and more, playing Miller as both a letch but also someone in possession of an innate kindness, not an easy balancing act to pull off by any means.

Mulligan, for her part, plays Jeanette as utterly weary, much older than her years, at times fragile, at times rock solid, both vulnerable and manipulative. Full of anger, she simply can't hold in her emotions any more. Unfortunately, in letting them out, she betrays Joe by forgetting he is only 14-years-old. When she starts drunkenly dancing with him at Miller's house, the scene is deeply uncomfortable, but Mulligan's performance is such that we don't condemn her, at least, not completely. She never allows the audience to lose sight of the fact that although she is behaving rather poorly, she is a prisoner, and is reacting against her restraints as best she can.

Of course, there are a few problems. Essentially a tale of marital angst, the narrative is not especially original - we've seen this story before, many times in fact, and for all the craft on display, Dano never really manages to say anything wholly original. Additionally, his measured direction is also too good in places - everything is so ordered, neat, and trim, that at times, the milieu doesn't seem lived-in, but more an abstract concept of what the period was like. The film could do with being a little messier in places, both in terms of direction and in terms of what's actually on-screen. Additionally, there are a few lines that sound great on paper, but which are just not the kind of things one says in real life. For example, Jeanette tells Joe, "I feel like I need to wake up, but I don't know what from, or what to". Later she says, "I wish I was dead. If you have a better plan for me, tell me. Maybe it'll be better than this". This kind of dialogue seems more interested in hitting thematic waypoints than developing character beats. Similarly, late in the film, Jerry says to Joe, "It's a wild life. Isn't it, son?" Proclaiming the film's title in this context doesn't even remotely work, and the line feels totally out of place, to the point of ripping you out of the narrative.

On the one hand, Wildlife is about how society was changing in 1960, and on the other, about how that change manifests itself within the Brinson family. Yes, it's another "death of the American dream" story in a long line of such films, but here, the focus is, for the most part, on character rather than theme, with Jeanette functioning in kind of a synecdochical manner; our specific entry point, she is the individual that facilitates an examination of the masses. And yes, Dano may take his eye off the ball a couple of times, with the odd bit of clunky dialogue, and a somewhat too picture-postcard perfection, but all in all, this is an excellent directorial debut.

A Beautiful Debut

By: hollihorat
Paul Dano is a great actor, but it's clear through this film his true calling is directing. Driven by strong performances from Mulligan and Gyllenhaal, Dano paints a beautifully heartbreaking story of a family falling apart. This is a story where the less you know going in the better, so I'm just going to say this is by far one of my favorite films of 2018, and I will be sorely disappointed if Carey Mulligan does not receive an Oscar nomination for her performance.

Slow and sad

By: thomas199023
It's a sad story, and so slow. Did not enjoy it in the slightest

Haunting portrait of family turmoil told through the eyes of a teenage son

By: PotassiumMan
Paul Dano's directorial debut is a powerful achievement, one that lingers on. It's the portrayal of a teenage boy in 1950's Montana whose parents' marriage begins to crumble amid financial hardship and his mother's subsequent restlessness. It's an adaptation of Richard Ford's novel.

Ed Oxenbould is the teenage boy from whose vantage point the story is told. Carrie Mulligan portrays a mother who has no qualms about showing her true colors, as she meets an older, prosperous man. Jake Gyllenhaal is the hard-working father who has just seen his livelihood upended and finds himself at a crossroads. These three tremendous performances constitute the quiet but powerful life in this film, and keep the audience gripped to the very end. The potent screenplay adaptation is written by Dano and Zoe Kazan.

Dano shows the ability of a director who realizes the subtle power of understatement. That part of his craft is visible throughout the film and he clearly has an eye for conveying raw emotion without the use of any dialogue. The jarring spectacle of a family slowly disintegrating is seen through Oxenbould's innocent, anguished eyes. This is one of the best directorial debuts I've ever seen.

A quiet but powerful drama, this is a superior piece of cinema with incredible work all around. Highly recommended.

A powerful film

By: sylvia120
I thoroughly responded to this film and felt like I'd been pulled through a knothole when it was over. Everything seemed so authentic, the settings, the furniture, the streets. All the actors were only complaint was that Mulligan was very hard to hear....I felt that I missed about 60% of her dialog, but it didn't seem to matter. You knew what she was going through anyhow.

Wildlife impeccably presents a delicate family facing marital woes.

By: TheMovieDiorama
It's important to note that Paul Dano's directorial efforts is his first yet. An actor transforming his knowledge of dramatic performances and pushing it through the camera lens, ensuring that his fellow actors are able to bloom like wild flowers in a sub-urban garden. Witnessed through the perspective of their son, a family are torn apart as they face financial difficulties, resulting in the wife committing adultery. Pure sensational gripping drama that feels nuanced yet powerful simultaneously. A relationship is breaking down, but it's the effect this has on their impressionable son that feels so profound. The need to support his mother, who recklessly becomes selfish, as his father succumbs to pride after losing his job and leaving them behind for another. Stepping up in getting a part-time job, consequently falling behind in education. It's a role reversal. The adults behave like children and the son becomes the man of the house. These actions never once feel forced, the development is presented naturally. Simple, sumptuous and saddening. This is an actor's film. An enclosed environment allowing Gyllenhaal and Mulligan to dramatically entrance us through fierce confrontations and misguided actions. Superb acting I must say, especially from Mulligan. However it's Oxenbould who holds the film together through his fragility and innocence. A sterling performance from this rising star. Dano's directing was outstanding also. From the enhanced ambience of the sub-urban wildlife to the picturesque landscape shots of wild fires. His focus is always on the drama, and he rarely lets you go. I would say the sub-plot involving Joe's school friend was underdeveloped and provided no real development for his character. Further time spent on the family at the beginning when they were more happy would also have helped increase the emotional investment later on, but these are small criticisms. For a directorial debut, Wildlife flourishes in beautiful performances and touching drama. A promising start to Dano's directing career.


By: babyjaguar
As his first directorial debut, Dano presents a beautifully woven tale of small town marriage through the eyes of 14 year old boy. The story based on a 1990 book by Richard Ford, scripted by Zoe Kazan; Dano's direction is on a great start on the telling of 1960s family going through a transformative change.

Its centers on the Brinson family: mother, "Jeanette" helmed by Carey Mulligan, father, "Jerry" helmed by Jake Gyllenhaal and the son, "Joe" moving into a new town. This is a wonderful depiction of small town life, exploring the economic class divide, as "Joe"'s father trying to hold to jobs while observing the frustration of his mother maintaining the "nuclear" household.

Dano's focuses on the loneliness of "Joe", he has only one friend and quits the football to take a part-time job after his family's economic situation worsens. As his mother plunges deeper into depression and drinking indulgence, "Joe"'s job as a photographer assistant allows him an insight to other families lives in the town (via portraiture). I feel the strength of this film is held together by the acting talents of Ed Oxenbould is truly "Joe Brinson".

This is only flaw in this film that Dano's newly founded talents did not delve into the one of charming aspects of "Joe": his tendency to observe everyone from his parents as to random strangers. This aspect obviously reflected through "Joe"'s artistic but emotional outlet for his sadness, portraiture. But in all, Dano's first entry is promising. This film illuminates a steady pathway for Dano to tell humane stories amidst beautifully-photographed "Americana" cultural landscapes.