Winter Solstice (I) (2004) User Reviews

As the seasons change, you try to come to terms...

[Howlin Wolf · 7/10 · 3 December 2006]

Quick physics analogy here. (although I hate the discipline!) Imagine a family consisting of three forces pulling in opposite directions. What's gonna happen? Whatever exists between them is gonna start to show cracks, right? Well, even if this little scientific postulation of mine turns out to be incorrect, it still handily applies to the meditation on grief that "Winter Solstice" offers. If they were united as a group, they would be much stronger, but with the huge space vacated by a missing figure, they become a ship without a rudder.

Fans, like me, of Lapaglia, Stanford or David Gordon Green's "All the Real Girls" should definitely come away from this with some food for thought. There are echoes of "In the Bedroom", too. Admirers of any mentioned will be pleasantly acquainted with the pace this film moves at as this is not a work for those who like their cinema to run loud, obvious and at a mile a minute. If low-key indie musing is your thing though, then I would suggest you check it out. It's content not to milk its material for moments of angst, so there are few showy moments for the actors. Suppressed anger is the main vent for hidden depths, so it could have been more 'raw', but taken together it nevertheless builds to something that is genuinely affecting.

A study in the aftermath of loss

[madjc7 · 6/10 · 3 January 2006]

What happens when a spouse dies? There are no tender flashbacks in this film showing the husband and wife in their marital bliss before the wife dies. This film is about what happens afterward. Even five years later, the reverberations are being felt by the husband and his two young adult sons.

Keep your expectations realistic, and this film delivers. In a key scene, a high school history teacher asks the class, "Why did the Mongols turn back when they were poised to roll up Europe like a carpet?" Pete, the younger son, seems to know, but doesn't care to answer. The teacher offers to let him out of class (a makeup summer class) if he can answer.

Pete finally takes the bait: "Their leader died and they didn't know what to do." There you have it. Does the filmmaker do any more to explain what troubles this family? Yes, but you have to put the pieces together yourself. He doesn't make it hard; he just doesn't grind it up and put it in a baby food jar.

The film builds to some very touching scenes that explore the impact of loss on the three remaining family members. If you're interested in exploring how real people deal with the real issue of loss, you'll find something here.

The ending comes before you want it to, sure. There are no easy answers offered by the conclusion, but that's the way life is.

Echoes of "Ordinary People" - LaPaglia shines

[george.schmidt · 7/10 · 25 April 2005]

WINTER SOLSTICE (2005) *** Anthony LaPaglia, Aaron Stanford, Mark Webber, Allison Janney, Ron Livingston, Michelle Monaghan, Brendan Sexton III, Ebon Moss-Bachrach. (Dir: Josh Sternfeld)

Echoes of "Ordinary People" and a first-writer's novella.

Anthony LaPaglia is an excellent actor whose talents have been lately on the small screen in the TV crime drama CBS hit "Without A Trace" but on screen it's been awhile since he's had the chance to shine and in his latest film his talents are on full display.

LaPaglia plays Jim Winters, a recently widowed father of two teenagers, attempting to hold things together including his moderately successful landscaping business in the lush suburbia of New Jersey. After the car crash that killed his beloved wife and the apparent glue to his brood the Winters family has been in a state of flux with his eldest son Gabe (Stanford) restless to break free from his dead-end job at a restaurant and his youngest son Pete (Webber) is aimlessly attempting to rebel by being a chronic late-to-riser and winding up in summer school much to their chagrin. All the while Jim has kept his grief to himself and apparently blaming himself.

Enter Molly Ripkin (Janney of NBC's "The West Wing") a newcomer who enters the picture as a neighbor's house sitter who breaks Jim's cloud by moving in a few doors down enlisting Jim to help her move in and by returning the favor invites him and his boys to a dinner. Jim is naturally awkward and still trying to heal his new wounds but sees some salvation in this sudden change of events but still must deal with his head-strong sons when Gabe announces he's saved enough money to drive down south to stay with a friend in Florida, even leaving his girlfriend Stacey (Liv Tyler look-alike Monghan) behind.

Novice filmmaker Sternfeld (making his directorial debut) – who also wrote the screenplay – tiptoes around the familiar angst in suburbia route that "Ordinary People" furrowed 25 years ago but shrewdly makes this more of a character study than a soap opera melodrama; the film feels like a first time writer's early novella. His casting of LaPaglia anchors the film with an implosive anger and rising feel of uncertainty yet doesn't rely on pyrotechnique of the human emotions that often blister what is lurking under the surface of complacency: fear and anger. LaPaglia has a few nice moments where the emotions are bubbling (I especially liked his encounter at a teacher/parent meeting where he almost bursts out in barely restrained ire) and tries to find his footing when Janney enters the picture; he clearly wants to move on but is plagued by his own hatred of himself which is subtle yet on display with his interactions with his sons.

The acting is fine – Janney is a drink of ice water in an arid story of sadness and dislocation; Stanford and Webber have a good feel for their characters as not atypical teens and Livingston has some fun as the summer school teacher who seems as bored as his charges with ancient history.

The only problem overall is the pacing seems a bit off and is arguably too low-key prompting the viewer to expect a fireworks display of feelings to come skyrocketing out of nowhere but this is not what Sternfeld has in mind and yet the stillness works. As does the rustic guitar-playing acoustic score by John Leventhal.

A nice little indie film with some assured acting and interactions that often are overlooked in the multiplexes, even in the wilds of Jersey. Trust me, I had to venture to the jungles of Manhattan to catch this gem.

Solstice - The Longest or the Shortest Day : Pausing as a Voyeur in the Life of a Fractured Family

[gradyharp · 22 September 2005]

Josh Sternfeld has done the unthinkable. He has elected to tell a story merely by allowing the viewer to overhear the minimal dialogue of the characters without supplying a linear plot or explanation of how a little family fell apart.

Landscaper Jim Winters (Anthony LaPaglia is a brilliant role) is the single father of two sons - Gabe (Aaron Stanford) who is the older and looking for ways to move away from his boring little small town home to find breathing space in Florida, and Pete (Mark Webber) a confused kid who wears a hearing aide and only sporadically seems to tune in to life and school. The three men live a fairly orderly life since the death 5 years ago of the wife/mother in a car accident which Pete survived. Jim tries to maintain some semblance of family but just cannot quite step out of his ill-defined grief to get a perspective on life. Obviously some forces of change are needed to heal this family of men.

Into the neighborhood moves Molly Ripkin (Allison Janney) who is house sitting for friends while she breaks away from being a paralegal to try her hand at making unique jewelry. She connects with Jim, tries to connect with his sons, but at the least she introduces a figure of gentle concern and focused presence. Pete finds some understanding from a summer school teacher (Ron Livingston) and begins to see some concept of meaning to his life. Gabe's decision to leave for Florida's promise of better life means he also must say goodbye to his only rock of realism - his girlfriend Stacey (Michelle Monaghan). With all of these elements of change in the air the story just ends. What will happen now is left to us to decide.

Yes, the film is slow moving, relying on minimal dialogue and more on silences and gazes. But Sternfeld opens this little family drama in such a tender way that we find ourselves wholly committed to the plight of each character. He makes us care. And that is the true beauty of minimalist art in film-making. The acting is first rate, with LaPaglia and Janney giving performances that deserve attention come awards time. Highly recommended for those who appreciate quiet sensitive films. Grady Harp

Surprisingly refreshing

[TripleI · 7/10 · 7 April 2005]

i viewed this film at the premiere on the Paramount lot. My thoughts ... placid on the surface but it had this continual bubbling beneath that serves to create this underlying tension and anxiousness which make you wonder ... where is this story going? thin on plot, yet masterly made .. the director was able to extract superlative performances from EVERY cast member which made this film work. This film is subtle and many aspects will be lost on most. This won't be a box office success but will pay for itself ($1m budget), it is a fantastically crafted piece and is in essence, a beautiful film. well done anthony la paglia for doing this low budget film and for giving such a fantastic emotional and well balanced performance that rubbed off onto all.

Sweet Meditation on A Family of Guys Without A Mother

[noralee · 6/10 · 15 April 2005]

"Winter Solstice" is a quiet, almost all-male counterpart to "Imaginary Heroes," dealing with the same theme of family grief, and was even filmed in the same town of Glen Ridge, NJ.

Debut writer/director Josh Sternfeld perfectly captures the inarticulatelessness of working class guys, particularly in father/son and brother/brother interactions.

Anthony LaPaglia as the landscaper dad and Aaron Stanford as his restless older son add to the minimal script with on screen charisma. It's sweetly charming how absolutely clueless they are in their lack of communication with the women who are attracted to them, but Allison Janney and Michelle Monaghan are overly understanding minor characters in their intersections with the dad and older son, respectively. I presume this is to emphasize the hole in their lives caused by the absence of the mother.

The problem is that without either more intervention by the women or the alcoholic violence of Sam Shephard's male family explorations, authentic looking and sounding guys hanging out together don't do very much or resolve issues. Pretty much the only plot point is the older son's gradual decision to leave --though I was surprised he has LPs to pack up--and how the other characters react to that.

It was nice to see Brendan Sexton again, more filled out, but he looked distractingly like the younger son played by Mark Webber so that I was confused at first that he was the best friend not the brother.

John Leventhal's intricate guitar playing on his original score is almost distractingly good. The song selections are beautiful sounding, though not particularly illustrative.

intelligent film

[whimsea611 · 7/10 · 31 December 2006]

I avoided watching this film....the summary on my cable station didn't entice me....sounded trite. However, tonight it happened to get my attention. The cable description was way off. (What a surprise.) It is a lovely, bittersweet story. One of the comments mentioned that it portrayed male communication and the commenter mentioned that women might find it to be frustrating, but educational. I come from an 'all girls' family with a father who is horrible at communicating emotion...especially affection. I found these guys to be very loving and supportive of one another despite their lack of talking about everything. Yet, they were sensitive, masculine beings....just the type of guy you can love. I liked the film and will catch it again.

Quiet, subtle film...slow but good

[pc95 · 7/10 · 13 April 2006]

Dialogue in this movie very good. It's perceptive, emotional, and somber. Each of the lead characters in the movie are dealing with some sort of emotional stress, and it manifests itself in what is said and actions or non-actions pretty realistically. The romance created was very well handled too...nothing really over-the-top, but rather the pain and anguish the Dad is experiencing from the present and past emphasized. We know it will take time, and so the movie does a great job of inferring to us what will happen. Would've liked to have seen perhaps a little more development with the younger brother, but that's minor. On the whole the movie only runs about 90 min, and its pacing is deliberate, thoughtful, and slow, but its nonetheless a good movie and drama.

Awful Movie.....

[jmusgrave_1069 · 1/10 · 13 June 2007]

I'm an Anthony LaPaglia fan, so I wanted to love Winter Solstice. I wanted to write a one sentence review: "It was a fantastic film." But that would have been a lie. The truth is, Winter Solstice is a mess.

The characters do inappropriate things: Jim Winters (LaPaglia) is stood up by his sons, and as a result, ends up on an awkward first date. So he throws their beds on the front lawn. I can only guess that sleeping outside is their punishment. Odd, considering it wasn't set up earlier in the film. But I suppose a more forgiving reviewer would let that one go.

Then there's the issue of missing information. At one point in the narrative, Jim and Molly (Jim's new neighbour, played by Allison Janney), sit in his truck at a local Dairy Queen. Just after she gets in, he gives her some sort of long, meaningful look. She then reveals that she was engaged once but has never been married. How could she possibly know what he was thinking? I apologise if my morning latte neglected to kick in and I missed something, but it was such a jarring jump in logic, it was hard to take the rest of the film seriously.

Then there's the soundtrack, which consisted of a lone acoustic guitar. As soon as I heard the first note, I knew I was in trouble. It was so earnest it bordered on condescending. It said, "Something heartfelt is about to happen." It said, "Be sad and contemplate the woes of these broken people." I know the score's supposed to carry the emotional subtext of the film, but even a gin-soaked Art Garfunkel on Valium would have rolled his eyes.

The actors try though: Janney is a welcome presence when she enters the story and her chemistry with LaPaglia is great. But there's only so much you can do when you're trapped in a sloppy film. And Winter Solstice really is a sloppy film. (Paramount Classics)

Minimalist themed movie that needed a rewrite of screenplay in certain areas

[radudca · 6/10 · 5 April 2006]

I think everyone should see this movie, it is an example of a inexperienced director who dangerously gambled on a script he authored, without consideration for the character differences in personalities and how these differences reflect their emotions. The minimalist direction throughout provided no pacing, no emotional highlights to carry this film along and provide us--the viewer-- with a needed satisfaction that all good movies deliver. There is an excellent story here and it was not developed to the fullest.What contribution Sundance provided besides financial, we the viewer will probably never know. They could have stepped in and provided excellent development ideas. The beginning 10 to 20 scenes could have given us insight into the mother who was the heart and soul of these men's lives. It never happened and the first part of this film suffered because of it. The cinematography was excellent but used mid range scenes almost exclusively, thereby avoiding closeups of the actors and the needed emotional development you can achieve with the more intimate closeup techniques. What contribution to the development of this film Anthony La Paglia provided as the executive producer and experienced actor remains a mystery. A great rewrite of the screenplay in the beginning scenes could have provided a needed lift and more dollars at the box office. I realize the minimalist aficionados will love this film, that is their privilege and no one will change their minds. Still this is a film that could have been a classic.

Proof That They Will Let Anyone With A Camera ....

[hillary2008 · 3/10 · 14 May 2005]

They are making just tooooo many movies these days. At least it wasn't a recycled 60's sitcom or comic book. Pointless beyond description. Wanted to shoot myself 30 minutes into it. If I ever meet Anthony LaPaliga I'm gonna demand my $7 back. A coming of age saga? Please. Go rent Breaking Away. Loser brother "A" gets into a fight at the quickie mart for? Loser brother "B" drives around in a clapped out Datsun B210 and dreams of sleeping on someones couch in Tampa? The best part of this sublime piece of !@#$ is when dad throws their beds out on the lawn for the night. Allison Janney is wasted. Anthony LaPaliga has done better. Will do better. Can anyone say "Mulligan?"

Living in the silences between the sounds

[janet-55 · 9/10 · 7 November 2005]

This is a very low-key film in which the action is inaction. LaPaglia's character, Jim Winters, in particular lives in the silences between the sounds. The film is redolent with the ghosts of unsaid words therefore as the viewer one must approach this film with the knowledge and appreciation that this is intended as a thought-provoking piece of cinema and so has no really big bursts of emotion. All the cast act beautifully, but as one has come to expect of Anthony LaPaglia he is outstanding. He plays a widower who after five years has still not come to terms with his bereavement, and as a result, though seemingly living an ordered day to day existence, in reality he finds it increasingly difficult relating to life in general and specifically to his two teenage sons. LaPaglia's portrayal is subdued and masterful; I don't think I know of any other actor who can so eloquently inhabit a role by apparently doing so little - definitely this is a case of art concealing art. This is a sensitive and rewarding film. And for all those guys out there who want this film to have some male endorsement, my husband liked the film very much when I asked him to watch it over Christmas, so it must be good.

Very enjoyable for the intellectually masochistic

[lee-foote · 7/10 · 10 December 2005]

By making a spectacle of dwelling on the mundane this movie confirms the obvious. Clearly many people find this very pleasant and reassuring that they are not alone in their communication problems, being victims of fate, and having the beneficence and underlying virtue to rise above the expected bitterness. There were a lot of pleasant emotional "ah so" moments but the pregnant pauses and awkward silences got old. As if there is an unspoken elephant in the room, nobody is commenting on the ending. Without spoiling anything, I will say the rasher of unresolved story lines left dangling seems a gratuitous attempt at artistic direction, and a cheap one at that. It irritated me that so much time was spent on character development that went nowhere. It is with some vindictiveness that I add these last to sarcastic questions: Is Sternfeld considering a sequel? Did he run out of money mid-way through the production? Great guitar work on the spare and crisp sound track. Soundtrack trivia - I can't think of any place in North America that one can hear Canada Geese on a lake and also have a profusion of Azaleas in bloom simultaneously. Maybe Missouri near a zoo or botanical garden?

90 minutes of my life that I will NEVER get back...

[shelleytermserv · 1/10 · 11 June 2005]

Winter Solstice tries hard. It really does.

It pretends to be a "meditation" on family life, but it fails miserably...what it offers is 90 minutes worth of poorly scripted and shabbily edited material (if you do see this film, check out the boom microphones floating at the top of the screen...I laughed out loud: it was awesome!) The actors did a great job considering the lack of material they had to work with; unfortunately, they could do no better than trudge through a painfully shallow storyline, which, for even the most patient film viewer, is SUPER FRUSTRATING.

Save your cash and scold your local theatre houses for charging people to see this rubbish. Shame on them!

Passionate acting with great restraint

[DigitalNemesis · 24 September 2004]

I went to see Winter Solstice in the Vancouver Film Festival this evening and was very surprised at the subtlety and restraint used by the director to ensure the film was emotional with over acting. It is a very peaceful film that explores the parents view of children leaving home as opposed to the child's view. A tremendous cast and great performances from Anthony LaPaglia and Mark Webber. Also a brief appearance from Ron Livingston in which he always has a way stealing scenes as the most likable guy in a room.

Very impressive little film with beautiful scenery of New Jersey, tremendous cast and an appealing change to cinema that is more than overwhelmed with actors who love to hear themselves speak.

a gigantic waste of time

[dtshidle · 1/10 · 30 June 2006]

This is one of the most boring movies I have ever seen. I only continued watching it because I was sure it would get to the point. It never did. Its pace is glacial with no apparent redeeming qualities. This is the first review I have written and if it keeps one person from enduring what I did, then I will know my life was not wasted.

This is still one of the most boring movies I have ever seen. I only continued watching it because I was sure it would get to the point. It never did. Its pace is glacial with no apparent redeeming qualities. This is the first review I have written and if it keeps one person from enduring what I did, then I will know my life was not wasted.

With a massive infusion of energy, this one could have been a good film.

[planktonrules · 2/10 · 24 July 2018]

This is a story about a widower who is raising two older sons....and he's apparently not up to the challenge and the boys are essentially like boats set adrift. After the father (Anthony LaPaglia) meets a new neighbor (Allison Janney), things start to change a bit for the better.

"Winter Solstice" is a film that frustrated me. While it is a film about alienation, the director made some decisions to increase this sense of loneliness and isolation that ended up seriously damaging the movie. Part of this was achieved by having almost no soundtrack at all for the film. What little there was turned out to be a single guitar. It was supposed to sound lonely...it sounded more cheap. Part of the director's vision was also to have the actors say very, very little. As a result, sometimes what they did seemed strange and confusing (such as the beds on the lawn scene). The film also ends...with very little actually resolved. Overall, while a lot of reviewers liked the film, many others disliked it....and the absolute lack of energy is much of the reason folks dislike it....me included. Just a small amount of energy would have helped the story immensely...helped folks to care about these people. Instead, it just felt like it was trying too hard to be hip and indie...and you really never cared about the people and their predicaments. It's also a shame because LaPaglia and Janney are excellent actors....but you just couldn't tell here.

Closure

[jotix100 · 8/10 · 9 December 2006]

A family tragedy changed the lives of the Winters family. When we meet them, Jim, a landscape gardener, and his two children, Gabe and Pete, have not gotten over the death of the woman who held this family together. At this juncture of their lives, they appear resigned with what happened to them. The somewhat quiet family atmosphere is going to be suddenly changed.

Jim, the father, who has not seen another woman since his wife's death, is suddenly awakened from his lethargy with the arrival of a well meaning woman who is house sitting for friends in the neighborhood. Molly is a fine listener; she hears what Jim has to tell her, as he opens to recount the anguish, he and his children, have been living.

Gabe, the older son, is seeing Stacey, a lovely young woman who loves him in return. It comes as a shock when Gabe informs his father and brother he is moving to Tampa. Jim's immediate reaction is to ask "What about Stacey", to which he responds "I'm dealing with it". Gabe wants to leave the oppressive home atmosphere to re-start his life in a new area. His brother Peter, who was with his mother when the accident happened, can't express his feelings; he has kept his emotions bottled inside him. He is a bright young man, but does poorly in school, something one of his teachers, tries to get him to respond and participate in class.

Josh Sternfeld created a sensitive and beautifully restrained film that shows that not all in life is rosy and that people suffer when tragedy strikes. The director, who also wrote the screen play, knows this family well. Not everything is gloom and doom because we realize, as we watch, things will improve, especially for Jim, who is attracted by a woman who clearly understands his situation.

Anthony LaPaglia, who is also credited as one of the producers, shows he was the right actor to portray Jim Winters. This talented man doesn't make a false movement and stays true to his character all the time. Mr. LaPaglia, who worked with Allison Janney on Broadway in Arthur Miller's "A View From the Bridge", is again reunited with his co-star and they feel right for one another. Ms. Janney's Molly, although not a showy role, gives her an opportunity to shine.

Aaron Stanford is seen as the older son, Gabe, and Mark Webber is Peter. Both actors do a credible job under the sure direction of Mr. Sternfeld. Ron Livingston is the kind teacher who sees possibilities in Peter and Michele Monaghan is perfect as Stacey, the girl that is dumped without much logic, by Gabe.

"Winter Solstice" was beautifully photographed by Harlan Bosmajian, who captures the world of suburbia in all its glory. The atmospheric music is by John Leventhal. Josh Sternfeld created an intimate portrait about pain and anguish, as this family

It starts, it's 90 minutes long, it stops. The End.

[joespiegel · 1/10 · 8 April 2005]

I don't get it? I just saw this movie at a screening yesterday and subtle isn't the word. It's nothing. It felt like I was watching a bad 480 (USC Speak(senior film project)) that was stretched to 90 minutes. A drama that's 90 minutes. That speaks volumes. Bad comedies and children's films are 90 minutes. If you can't flesh out a drama to last 2 hours, you are missing something, like a story line. In this case I was grateful that we could leave. There were times in the film where I thought something was going to happen and we'd have the main conflict and a reason for the story. Nope, it just continues to the next scene. There WAS one fight, but I totally missed why one of the sons beat up a total stranger to us? If he was established earlier in the movie, I missed him. Picture "In The Bedroom" without the murder. BTW, I hated that one too, but it at least had a reason! I chatted with some people as we exited the theater and it seemed as confusing to them too. I was glad not to be alone on this one. This movie defines the way to stop a movie when your writer dies mid script. Cut to black, roll credits.

Chock full of indie movie clichés. (spoilers)

[vertigo_14 · 4/10 · 24 November 2005]

These kind of movies have become an indie cliché, except for the part about the family living in an upper-middle class neighborhood and the father being some kind of high-status white-collared employee in an advertising agency or something. But essentially, the relationships (which I am skeptical of as being written by someone who does not have teenage children) and the manner of execution right down to the dramatic sequences backed by guitar instrumental tracks, are all so clichéd. Most of the scenes seem to hardly make much sense, their purpose questionable to the overall film. And, for crying out loud, the characters take so damn long to say something, and when they do, it is still very little.

Anthony LaPaglia plays a father of two boys. His wife died in an accident five years earlier and essentially, the movie is just about his relationship with his boys as they struggle to move on...I guess. None of them really look like they're clinging to anything or having any trouble, except for the boredom of their dreary (Canadian?) small town. LaPaglia's new neighbor (played by Allison Janey, perhaps the only spotlight on this entire bore-fest) is also his soon-to-be-love interest.

These kind of independent movies have become a dime a dozen. And this one in particular is amazingly boring (thanks to the lack of realistic dialog and even less realistic relationships among nearly all of the characters in the film...do the filmmakers just assume that all of humanity is afraid to converse with itself?). Of the thousands of these kind of awkward family bonding dramas that have been produced for the indie sphere in the last two or three years alone, this one is far from anything memorable.

I just wish independent filmmakers would stop being so clichéd. Leave that to Hollywood mainstream...we look to you guys as an alternative to the crap they're producing.

In the Seinfeld mode, but without the humor.

[JohnDeSando · 27 April 2005]

As metaphors go towards reflecting character, this one is a good as it gets: Gardens "fall apart pretty quickly, and you have to take care of them." In Winter Solstice, Jim Winters' (Anthony LaPaglia) family needs plenty of care as it recovers from the loss of his wife and the two boys' mother. That piece of debut writer/director Josh Sternfield's dialog is reminiscent of Miles' discourse about pinot noir in Sideways--T. S. Eliot's "objective correlative" describes the state of the characters.

In the Seinfeld mode, but without the humor, Winter Solstice is about nothing; little happens to set up traditional Greek rising and falling actions. It is profoundly about getting through without letting mom's death freeze you in sorrow. That older son Gabe (Aaron Stanford) plans to leave New Jersey for Florida is just another disappointment. That son Pete (Mark Webber) is a summer school regular hiding a bright mind must be endured until he emerges from his winter.

Jim does as well as can be expected keeping his family whole. As for himself, his landscaping business keep him alive with the artistic promise of more beautiful flowers and the humanistic comfort of working with people and getting to know new temporary neighbor, Molly Ripkin (Allison Janney).

The simplicity of the days coupled with the minimalism of dialog and plot defines this small movie, which executive produce LaPaglia must have known wouldn't make any money. But he made it, as he did the estimable Lantana, for reasons that may be tied to the garden analogy, taking care to be more than a TV star. As Gabe says about leaving his fine girlfriend behind, "That's my problem, and I'm dealing with it." I admire father, son, and director's ideals—they give us interesting small films such as Winter Solstice. As Shakespeare's Richard says in King Henry VI, Part iii, "I, that did never weep, now melt with woe/That winter should cut off spring-time so."

There's Too Much Slow Pace In It's Movie's Blood Stream And Lack Of Real Spice In The Characters Lives

[Rodrigo_Amaro · 5/10 · 12 July 2010]

In "Winter Solstice" the Winter family doesn't know how to deal with the loss of the only woman in the house: the wife and mother of two brothers. Anthony LaPaglia is Jim, a widower dealing with some constant changes of his two teenage sons (played by Aaron Stanford and Mark Webber). One of them wants to move to another town because he thinks his life in going nowhere and he wants to find a sense of direction in the world, even if that means leave his girlfriend (Michelle Monaghan) behind. The other one is a self-destructive character whose prior objective is none, attending classes in the high school but not doing much, getting negative grades.

In a place where nothing changes, nothing is answered and some situations are infatuating a glow of kindness appears in the form of Molly (Allison Janney) a new neighbor taking care of a house around the Winter family and we as audience are desperately hoping that she and Jim be involved soon. In one of the most awkward and funny moments of the film Jim throws the mattress and pillows of the brothers in the garden forcing them to sleep outside of the house just because they didn't attend in Molly's house for a dinner. He did that by angry, he didn't want to be alone with another woman, after 5 years without knowing another one except his deceased wife.

This is another example of the so-called Independent Film book of rules (if there is one actually). Pick some good actors; deliver to them the shortest lines possible to talk on screen; make sure that the soundtrack of your film is an morose acoustic guitar; go film in a small town; and throw lots and lots of slow pace moments without answers, thousands of questions and no ending; and then you got a movie. Good one? Unfortunately no. I've seen a lot of similar films lately and they can only do one thing: make me bored!

Despite the efforts of the ensemble casting this movie doesn't inspired me in anything, and it only showed that real life is boring, pointless, with some aggressive moments and no reason at all. In some points the movie worked brilliantly in showing the lack of communication between people, in other moments it was just deplorable, e.g. the moment where Molly wants to return something she borrowed from Jim and the son played by Mark Webber keeps looking strangely at her, not asking questions at her; she's very polite and he and his friend are too much in the defensive. Normal teenagers behave like that? Well, maybe. But that moment was too forced.

The atmosphere of boredom is present in all moments except when Allison Janney is in scene but sadly her character doesn't appear too much. And the excessive focus on the teenage characters rather than the adults makes this film a little bit pointless and diminished considering that the pain that LaPaglia's character suffered is more important to the story than the teens grieve.

The Winters family doesn't deal with the loss in family. There's no dealing with neighbors and teachers and the girlfriend. I mean that's what happens in real life. People just don't talk and everything is invisible to the eyes of those around who suffer of something. In movies just like literature characters can't use "masks", they need to show his reality to the audience, explain just a little why this is happening to them and why they act of that particular way.

Everything was a mystery in Josh Sternfeld's film, nothing moves, people fight but they don't share their love, hopes and fears with no one even with its audience. And that's a problem in terms of screenplay. "Ordinary People" might be more melodramatic and more depressive than this film but at least it goes to somewhere, and we got some answers, and a possible solution. If you're looking for some answers to your life after experiencing something similar it's gonna be just like the Nazi soup in "Seinfeld": "No Soup For You!" 5/10

A movie about how men communicate

[James-Mangold · 9/10 · 18 April 2005]

In Winter Solstice Josh Sternfeld's debate as a director is a true original. This is a movie that shows exactly how men communicate. Men tend to avoid emotional conversations. Some women may look at this negatively because of their frustration with this fact. Women would love to see their men discuss their inner most feelings and share in their pain and happiness.

This movie shows the truth behind men's issues with showing emotion. Many people would consider it an ego thing. I think it is more of pride in oneself. Men were brought up to stand on their own two feet, and to make it on their own steam. This is exactly what Jim Winters(played by Anthony Lapaglia) deals with in raising his two sons on his own.

Jim and his two sons have to make it on their own after the loss of Jim's wife. The three communicate in a truly male way. Not saying much, but saying a lot in how they act and react.

I could relate to this movie so well because all of the conversations I had with my father were very much the same as in this movie. If you are a man who wants to see men portrayed in the light they deserve go see this movie. If you are a woman frustrated with not being able to talk to your man, take some time to watch this movie and try to leave any prejudice at the door.

Winter Solstice is not an exciting movie by any stretch of the imagination. Its about everyday life and how men deal with their lives. Go see it, but don't expect some major complicated plot. Its as uncomplicated as most men are.

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[signlady · 3/10 · 12 August 2022]

. . . there's a reason why DVDs are found in yellow cardboard sleeves at Dollar General for 2 bux - and this movie is one of 'em.

I gave it 3 stars for the great acoustic guitar soundtrack - other than that - WHAT was this movie about exactly? LaPaglia & Janney are among actors I always enjoy - but they simply didn't do anything in particular - I mean - if they were having to 'act' to portray everyday average people, I guess they gave Oscar-winnin' performances . . .

Apparently,,ANY and all mundane familial & friendship behaviour can be a movie.

I saw nothin' here I wouldn't see around any town locally, or if I was a friend or relative of this father & his sons.

This is the most mundane movie I've ever seen. I don't think it will be spoiling it to tell you - nothin' happens or means anything - but maybe the best scene in the movie is one scene with the dad - in frustration of his one young-adult & one older teen son not showing up for a dinner invite they promised to attend - he throws their mattresses & linens out in the yard - basically saying - if you can't come eat with me - you can't sleep under my roof.

I don't think there's a parent-of-a-teenager/adult kid who hasn't done some sort of dramatic action out of frustration with these 'adult' beings . . . Even more frustrating - the guys simply slept soundly out in the yard that night . . .

It didn't even really make sense why the son seemed so sad yet utterly casual about leaving home - or why his dad didn't want him to go - I kept waiting for him to scream or at least casually say 'I'm (like) 25 years old - I gotta leave home SOMETIME.

The fact that the mother passed. FIVE years prior is barely mentioned. And from all appearances and their general behaviour - this man & his sons are normal, considering.

I'm usually pretty good at finding the metaphors and understanding the psychology of a movie, motivations, etc etc - but there's none here - & believe me - if you are lookin' for anything interesting to watch - this ain't it .

There's 90% just watching people work, walk, ride bikes, very casually & minimally chat, only that one short, slightly funny scene where the dad throws out the bedding, and one short scene where the dad & eldest son have a few heated words.- unless you literally like watching all casual interactions you can see basically daily anywhere.

If you are completely isolated, or have no family, or you're antisocial or agoraphobic, but want to watch how people basically act and interact on a daily basis in fairly common situations - you might love this.

A film that captures the true dynamics of a father and his sons.

[evdebs · 8/10 · 31 January 2005]

Saw the film at Tribeca, and was very taken with it. So few films show normal, non-violent life to be as dramatic and as sweet and as hurtful as it really can be. This film does. The acting is terrific. The direction stays out of the way of the actors and the story. A young man has a hearing impairment, for example, but this is never called attention to or made maudlin use of--it's just there as part of the family's reality. Same with the missing mother. That's part of the back story, and no one is going to spend minutes explaining it to the audience, you just enter into the family's life as it goes on. Every moment is entirely believable, and usually, touching as well. I am afraid it may not reach many viewers, since it has not sex or violence to speak of, just the truth of family life.