> Volume 6 > Number 26


Michael Mayer

Colin Farrell
Dallas Roberts
Robin Wright Penn
Sissy Spacek
Matt Frewer

Release: 23 Jul. 04

A Home at the End of the World


Castrated by both the movie studio and his onscreen development, Colin Farrellís Bobby is the epitome of the man-child, hopelessly going through life trying to make everyone happy so that theyíll love him. Itís not a particularly attractive roll for the Hollywood hunk, but this isnít a particularly attractive movie. In fact, A Home at the End of the World is the epitome of bad indie filmmaking, bringing to mind the two gay cowboys that South Park imagined all independent filmmaking to be about.

No matter what subgenre it compares to, this is a lesser variation. The love triangle has no tension, the main romance has no chemistry, the gay elements are simplistically rote, the urban story is laughably unbelievable, the rural story lacks substance, the arrested development is barely explained, and the father-son dynamic is quickly forgotten. Even in the collected works of Michael Cunningham, writer of The Hours, this is the worst (I happen to like The Hours, but I doubt even that filmís critics would consider it the lesser).

Scantily put together on a shoe-string budget that shows, A Home at the End of the World lacks any understanding of tone, articulation, or storytelling to impart in its vacuous 95 minutes. Hereís a film that jumps from scenario to scenario but never really understands that it hasnít explained the first scene yet. People will still go to this in larger number than it deserves because of the ballyhoo over Farrellís evidently large penis being trimmed from the final cut (I find all these circumcision puns oddly humorous when used for an actor who prides himself in being uncut), which is unfortunate: with the sudden cut in the film as Robin Wright Penn takes off Farrellís pants, even the post-production tinkering is amazingly obvious

©2004, David Perry,, 25 June 2004