Sexyloutak Absolutely the worst movie.

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Arcadio Bolanos The Cement Garden Andrew Birkin's film has it all: intense characters, controversial situations and unusual concepts, which shouldn't come as a surprise if we keep in mind that it's based upon a novel by Ian McEwan. The protagonists are Jack, a 16 year-old boy and Julie, his sister, barely a couple of years older; then come the youngest sister and the youngest brother. The four of them live with their parents, in a somehow bleak house, completely isolated from other neighborhoods.Jack spends most of his time avoiding his home duties, such as cleaning up his room, and instead devotes most of his hours in a secluded spot in which he hides a worn out adult magazine and toilet paper. His mother actually confronts him and tells him, following the pseudo-scientific approach from Victorian age (which Foucault so aptly analyzed in his History of sexuality), that his moodiness and messiness is a direct result of self-abuse, and that should he continue practicing that he would end up extenuating his body.One afternoon, the father is pouring cement into the garden and asks Jack for help, but while the father keeps working on the garden, the young boy is in the bathroom masturbating enthusiastically, with precise visual transitions, the director manages to apprise the moment of Jack's orgasm with the last breadth of the father, as he succumbs to a heart attack. Later on, Jack will tell to his sister "Besides... not my fault he died", answering a question that no sibling had dared to ask up to that moment.The absence of the father marks the downfall of the family. The mother is unable to step out of her room, depressed as she is, and order and discipline soon turns into chaos and disarray. It's in this context that the constant taunting between Jack and Julie turns into something else. What at first begins as innocent flirtations soon brings up more tantalizing repartees. In one occasion, while Jack is on top of Julie, tickling her, she starts grabbing him in a very distinct manner and comes to an orgasm.As the mother falls deeper into depression and illness, the fear of being discovered is diluted and thus the incestuous fantasy acquires a firm grasp on reality. As Lacan analyzed in his Antigone seminar, the death drive moves the Greek heroine towards the desire invested exclusively around the body of her deceased brother. In "The Cement Garden", the protagonists start cajoling themselves around this death drive that disappears and leaves only a very real desire and a very real erotic drive. "My brother is what he is" would say Antigone, and in a similar way Jack will tell her sister that if people love him then they will take him as he is.In Ancient Greece the term "autadelphos" (autos: "same"; adelphos: "sisterly," related to delphus: "womb") would mean something irreplaceable. As Antigone says in Sophocles' play, if she would lose her children she could always get pregnant again, if she would lose her husband she could always find another man, but if she loses her brother, who could possibly replace him? They are, after all, creatures that have shared the same womb and nothing can compare to that. In a similar fashion, the passion between Jack and Julie defies all social norms and regulations. They are irreplaceable for each other, and as the house starts falling apart, they start getting closer and closer.The absence of the father also means the absence of the nom de pere, the ultimate authority that inscribes the subject into society, that commands his offspring to occupy the male or female position in the symbolic order. Without this authority, male and female positions are interchangeable whether ideologically or practically, as it's made evident by the authority invested upon Julie, who has the full responsibility of being in charge of the house (a role that would be traditionally ascribed to a male), or by the youngest brother's obsession in wearing wigs and skirts, not only dressing up as a girl but also sleeping on the bed with another boy his age, pretending to be Julie and Jack. When Jack intends to stop this peculiar practices, Julie has but one answer for him: "You think that being a girl is degrading but secretly you'd love to know what is it like, wouldn't you?", and in a very tantalizing way places a most effeminate ribbon on his brother's neck.Crossing all boundaries, subverting the heterosexual normative and assuming incest as something that feels natural and real, Birkin's film announces from the very beginning a dreadful end; perhaps it would be interesting to compare the novel's ending with the one in the film, because after all, once all is said and done, as Lacan would phrase it "…is important to note that one only has to make a conceptual shift and move the night spent with the lady from the category of pleasure to that of jouissance, given that jouissance implies precisely the acceptance of death — and there's no need of sublimation — for the example to be ruined".

aimless-46 Aspiring production designers and location scouts should take note of "The Cement Garden" (1993) as an example of especially good use of an available on-the-cheap location. Like the equally low-budget "Carnival of Souls", the film owes much of its effectiveness to the creative use of an available location. "The Cement Garden's" outdoor shots should look familiar as Stanley Kubrick used the location back in 1987 for the main battle sequence of "Full Metal Jacket". He used the abandoned Beckton Gasworks just across from the Royal Docks area (Beckton-Silverton London). The area has now been transformed into London City Airport. As a film, "The Cement Garden" could best be described as pretentious (marked by an unwarranted claim to importance or distinction). It is a movie that tries embarrassingly hard to be more than the sum of its parts. The strategy is to introduce shocking and scandalous elements in such a casual way that it will amp up the effect of breaking taboos far beyond what they would otherwise merit. This too owes much to Kubrick (insert "Lolita" here). "The Cement Garden" is what you would get if Gregg Araki remade "Our Mother's House" on a shoestring budget; although it is safe to say Araki would have done a much better job of acting for the camera direction. It is an adaptation of Ian McEwan's controversial novel, but as the adapting was done by Director Andrew Birkin (later to be blamed for "The Messenger: The Story of Joan of Arc" script), the result is likely to be disappointing to readers of McEwan's book. I recommend the film, although some viewers will not enjoy it most will be mildly shocked and entertained by it. I found viewing possible only in 20 minute segments (not so much because it was painful but because it was not involving enough for me to ignore household interruptions). Since the macabre elements aren't particularly shocking (just a couple of stylish "Blue Velvet" type shots), Birkin must fall back on incest and gender identity. It is one perversion too many and there is no logical connection between the two. The story is about a family of six (mother, father, two daughters and two sons). The older son is meant to look like a girl, the older daughter is meant to look like a boy, and the younger son wants to be a girl. The mother's death occurs a few weeks after the father, and the children conceal her death in an effort to stay together. The story is told from the point of view of the oldest boy, who is turned on by his own reflection and by his tease of an older sister. Since he looks so much more feminine than her, his sexual orientation may actually be straight. The younger sister (who is not involved in any of this) looks perfectly normal but spends a lot of time writing letters to her dead mother. Like "Our Mother's House" (a far better film), an older man is inserted into the story in an effort to make something happen. While a little hard to decipher, the basic themes concern the problems associated with assuming responsibilities before you are emotionally mature enough for them. In fairness, an attempt is made to insert an allegorical element into the film, as the older boy frequently does a voice-over reading of a science fiction story. This is meant to reflect his internal moral struggles but the connection with the events of the story is rather fuzzy. Not surprising since the weak direction builds neither suspense nor convincing characters. But at least there is that great production design. Then again, what do I know? I'm only a child.

Taffy Turner This amazing ground breaking film is based on Ian McEwan's award winning novel about four children (2 who are in their late teen's) who after the death of their mother fear foster homes and separation and as such keep the death a secret and withdraw into their own shadowy world and whilst that novel is an excellent read, this film offers so much, much more...For a start it features excellent actors including Sinead Cusack who expertly plays the mother, but the real stars of this film are the children: Jack, Julie, Sue and Tom with Jack played by Andrew Robertson and Julie played by Charlotte Gainsbourg both being the main focus of the film and who are both incredibly photogenic and simply steal the show proving what fantastically accomplished young actors they really are.Then there's the films musical score which is absolutely astounding, it's haunting for the best part of the film and tears at your heartstrings at times but it simply oozes atmosphere throughout and just adds to the overall surreal effect of this movie and is the best orchestrated score I have ever heard.Then there's the film itself, which will be familiar if you've read the book, it's commonly thought to be set during the long hot summer of 1976, hottest summer on record being mentioned during the course of the movie but the fashions/styles are more of a 1960's/1970's pastiche. But this is of course a movie for adults and justifies it's 18 rating as it does contain a few shock moments, most notably the ending which although breaks a taboo is handled quite beautifully. Nevertheless there is so many visual treats shown throughout this movie, from the dark atmospheric reaction close ups on Jack's face which are accompanied by that heart string tearing music, to Jack's surreal seaside past dreams/flash-back sequences and not to mention the mothers death, which is upsetting enough to see and feel the youngsters loss, but when Jack and Julie have to move her body it's hard to keep a dry eye at the sight of Jack's despair and as always the movie score builds to see that. There's also the excellent camera work used to highlight the urban ruin that is their home/surroundings and the long shots of the children (notably Jack) walking to and from school are awe inspiring. OK I could go on but that would be a spoiler and you need to watch this movie to really appreciate it anyway.So overall this movie does much more than bring Ian McEwan's novel to the screen and although it has some uncomfortable to watch scenes it is on the whole a very beautiful film which has the effect of growing on you and becomes more enjoyable with each viewing, something you can't say for many films made nowadays. It also truly deserves to be given the label of British Classic as it's been made with such care and to such a high standard with the excellent actors, the astounding musical score, the awe inspiring camera-work and of course the award winning story itself, I really can't praise it highly enough.The only disappointing aspect of this release by Cinema Club is the lack of extras offered, it would have been nice to have a commentary from the main cast as would seeing them reunited to offer their views and memories of the movie. A feature on the making of the movie would have been great, perhaps showing the location used in London and how it appears today and a music only option highlighting the awe inspiring orchestrated musical score would have been a treat too. There's also a rumour that a large scene was deleted from the movie, so having the option to view that would have been nice. Then there's the picture quality, which is of a good standard even when viewed on a large wide-screen TV although it does appear slightly grainy if viewed close up so I doubt it got much of a digital re-mastered makeover and the soundtrack is also good here offered in Dolby Digital Stereo but it would have been so much better if it was in 5.1. OK maybe I'm nitpicking and a second disc full of extras might be a pipe dream but that would have been excellent all the same and who knows maybe one day that will happen.In any case for now it's an absolute treat that Cinema Club has made this movie available on DVD and so don't just take my word for it, buy it and let it attack your senses too, you won't be disappointed and if you don't feel touched by the visuals and music of this powerful drama then your not human.

HJN Simply a piece of art. More than this: a magnific, dark and lonely piece of art in the middle of a desert. The cement is hard and hide things that must to be hide. In this film the past time is erased, digged in the deep under 10 feets of cement. One of the characters says (in the final of the movie) - You are sick!-, but he don't know that the sick was himself.10/10 - So far the best cinemaThanks for your art, Andrew Birkin