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A Home at the End of the World - Preview

Preview by: Jack Foley

HAVING cut his teeth on big-budget action vehicles, such as The Recruit, SWAT and Daredevil, Colin Farrell would appear to be slowing down a little bit, by returning to more character-driven material.

Last year’s Irish film, Intermission, marked a keenly-anticipated return to his homeland, which the actor leapt at the chance of doing, while the upcoming A Home At The End of the World, appears to be a far more character-driven piece than much of his most recent work.

Heck, even Alexander promises to allow the actor some acting space, despite the many big battle scenes it promises.

A Home At The End of the World, however, finds Farrell in the latest film to be adapted from a work by Michael Cunningham, whose last effort, The Hours, helped to earn Nicole Kidman a best actress honour at the 2003 Oscars.

The film begins in suburban Cleveland, during the Sixties, and continues to New York City, in the Eighties, and tells the story of two best friends, Bobby (Farrell) and Jonathan (Dallas Roberts), as they form an unusual triangle with Jonathan's roommate, Clare (Robin Wright Penn).


Eventually, the three move upstate to stay with Jonathan's mother (Sissy Spacek), who has had her own relationship problems with Jonathan's father, Ned (Matt Frewer).

The film marks the movie debut of acclaimed Broadway director, Michael Mayer, whose award-winning work includes the US version of Thoroughly Modern Millie.

It was previously mooted as a potential Oscar contender for distributor, Warner Bros, given its source material and the strong ensemble cast - although its limited July 23 release date in New York and Los Angeles might seem to suggest otherwise (although a wider release is planned, later, with possible word of mouth contributing to a wider audience appeal).

However, the film is fast gaining notoriety for being the one which denied Farrell his first full-frontal movie scene.

According to a recent report in The Sun newspaper, the scene had to be chopped because test audiences became transfixed with the size of his manhood.

Even director, Mayer, admitted that it was distracting, and so agreed to the censorship, in a move which has reportedly upset the Irish hellraiser.

The film, which certainly sounds like an interesting next step in the prolific career progression of the likeable Mr Farrell, is due for release in the UK later this year.

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