Margaret(in Hollywood Movies) Margaret (2011) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Margaret on your mobile, tablets and ipads
Plot: Margaret centers on a 17-year-old New York City high-school student who feels certain that she inadvertently played a role in a traffic accident that has claimed a woman's life. In her attempts to set things right she meets with opposition at every step. Torn apart with frustration, she begins emotionally brutalizing her family, her friends, her teachers, and most of all, herself. She has been confronted quite unexpectedly with a basic truth: that her youthful ideals are on a collision course against the realities and compromises of the adult world. Runtime: 150 mins Release Date: 31 May 2011
A tragic accident sends one New York City teenager into the throws of a moral dilemma which serves as a catalyst for her own transformation (by abneuman)
A truly heart wrenching story, "Margaret" reiterates Kenneth Lonergan's gifts for dialogue, story, and his ability to treat the most dramatic themes with artful humor, awareness and perception. The acting is exceptional; even relatively small parts, played by actors such as Matthew Broderick, Matt Damon, Mark Ruffalo, and Allison Janey showcase both the actors' own remarkable abilities as well as Lonergan's attention to detail. It is Matthew Broderick's character who is the only one to utter the movie's title as he recites a poem by Gerard Manley Hopkins. J. <more>
Smith Cameron and Anna Paquin, who play mother and daughter, both deliver fierce performances which form the relationship that serves as the backbone of the film. Taking on issues from abortion, divorce, and death to the inherent isolation of being human, the movie has a life and humor to it which cannot be brought down by the weightiness of these issues.
a fantastic movie and a sure bet Oscar for best picture and actress (by mporde)
This movie showcases Lonergan's genius for dialog and his gift for articulating the human predicament. The story, centered around a girl who witnesses a horrible accident Anna Paquin , is an operatic tour de force. Paquin a and J. Smith Cameron her mother in the film \ are absolutely brilliant, and the supporting cast is so strong that this movie should sweep multiple Oscars. Lonergan's pacing and tone are well suited to what is both a heartrending and funny complex drama.The sweeping grandeur of New York City comes across more realistically, and beautifully, than it has in any <more>
other recent film. So much of what makes us human is articulated in the movie that everything is real, everything is believable, and one can't help but to be moved to tears, to laughter, and back again. Margaret is a perfect follow up to Lonergan's superb first film You Can Count on Me.
'Margaret, are you grieving?...It is Margaret you mourn for.' Gerald Manley Hopkins (by gradyharp)
MARGARET is and has been a troubled movie - sophisticated examination of one girl's post- traumatic transformation as part of a larger point about how one's notion of importance is dwarfed by the larger worldview. Written and directed by Kenneth Lonergan and shot in 2005 as a three-hour film, the movie has remained on the shelves since its completion in 2007 over legal problems and finally is available for viewing in a 150-minute version. Though it has flaws it contains some of the most sophisticated dialogue and philosophical points about where we are in our society today that the <more>
On the day of its cinema release, Kenneth Lonergan's long-gestating drama was the most successful film in the UK. Problem was, it only opened on one screen. The story of Margaret's production is likely a fascinating story in itself, not least because of Martin Scorsese and Thelma Schoonmaker's input into the final edit, which was presumably a return favour for Lonergan's work on the screenplay for Gangs of New York. But I'll focus on the fascinating story that Lonergan has told with this film.Ostensibly the tale centres on a New York schoolgirl named Lisa Anna Paquin, <more>
defining her young adulthood just as she defined herself in childhood with The Piano , who inadvertently causes a fatal road accident. What follows is the emotional aftermath, fought outwardly with her mother, as a moral and ethical war wages within her hormone-ravaged body.The performances are excellent throughout, particularly Paquin and J. Smith-Cameron as the daughter and mother caught in gravitational flux. Jean Reno gives fine support as the sad-sack Ramon, while Matthew Broderick delivers the poem by Gerard Manley Hopkins that provides the film's title, while suggesting the entire life of his character by the way he eats a sandwich. It's that kind of film. I recently wrote a review of Winter's Bone, which I described as an anti-youth movie. Margaret could be a companion piece in this regard, cautioning against the bright-eyed naivety of youthful independence, and promoting the importance of family. Like Winter's Ree, Lisa is a lost soul; unlike Ree, Lisa is not someone we admire. But she is always in focus; Lonergan expects not for us to like her, only to understand her. In maintaining this focus, Lonergan himself achieves the admirable: weaving a narrative whose minute details and labyrinthine arguments mirror the broader existential vista against which they are dwarfed. Margaret goes deeper than Winter's Bone, delivering something pleasingly unexpected: a kind of Sartrean modern fable about the isolating nature of subjectivity. Like her actor mother on the stage, and like us all in our semi-waking lives, Lisa is the main player in her great opera. She performs the social functions that enable her to cling to a sense of belongingness, but something gnaws at her soul. And when, after the accident, she seeks some kind of meaning, she is met at once by indifference, before being seduced by those very institutions that make indifference normal. Nothing in the material world satisfies Lisa; nothing can match her aspirations. The suggestion here, I feel, is that our despair emerges from the disparity between that which we hope for and that which reality can deliver. No wonder it took so long to find its way to a single UK screen: a three-hour existentialist play is a tough sell. Ten years after the towers sank to Ground Zero, Margaret joins There Will Be Blood, The Assassination of Richard Nixon, and for some Zodiac in the pantheon of modern classics that map the American psyche in the post-9/11 world.
A masterclass in dialogue with wonderful acting (by RolyRoly)
The travails involved in getting this movie released at all are well enough known by now that the fact that it is a flawed masterpiece shouldn't come as a surprise. Above all, it is a masterclass in how to write dialogue. Virtually every character is given a credible and compelling voice, from the bus driver to the lawyer, from the mother's suitor to Lisa's "boyfriend". As the father of a daughter, now in her early 20's, I can say that Lisa Cohen's character is as realistic a portrayal of the insecurities and self-righteousness of female adolescence as I have <more>
seen. All aspiring screenwriters should be forced to watch this movie and then be given a 3-hour oral and written exam before being allowed to put pen to paper or finger to keyboard .The acting is also superb. The feel is more of a stage play, an ensemble piece, than a film. Perhaps the fact that one of the characters - Lisa's mother - is a stage actress struggling to support her daughter is partially responsible. But you can tell that this team of seasoned actors relished the opportunity to stretch out with an intelligent well-written script and a supportive director.The only flaw in Margaret has already been well expressed by others. The film does meander and, while I recognize that this is partly the point of the exercise, there are times at which you long for a more conventional, and taut, storyline. I would gladly have spent more time in the company of these well-drawn, articulate and interesting people. Maybe next time HBO wants to do a miniseries it will let Kenneth Lonergan loose on a story rather than subject us to another preachy, wordy effort from Aaron Sorkin.
Margaret is worthy of distinction (by kevinjdobies)
I was fortunate enough to see this film recently at the West End Cinema in DC. Having read some of the mixed reviews, I wasn't quite sure what to expect. I found myself pleasantly taken with the movie. Yes, there are one or two digressions that could have been better integrated with the story or, possibly, cut . Yes, the climactic scene could've stood some tweaks. And yes, between this and You Can Count on Me, I do prefer the latter. But this was still one of the best films I've seen in years! It is a mature work, and honest, and considered. The emotions and psychologies of the <more>
characters feel real and authentic. If you're looking for a light, generic popcorn movie, this film is not for you. But if you appreciate true to life drama with weightier themes that will challenge your preconceptions and stimulate your higher cognitive functions, Margaret is definitely worth watching.An early scene, of the story's tragic inciting incident, was so brutal, so powerful, and so upsetting that I almost had to leave the theater. The main character's involvement in this scene means that she is forever changed, and it's to be expected that she will begin to "act out" as she struggles to recalibrate her life in tragedy's wake. You might not like, or agree with, everything she does, but she is fascinating to watch. Peter Travers of Rolling Stone sums it up best: "Margaret, for all its flaws, is a film of rare beauty and shocking gravity."
Attention-seeking teenager goes through death, mortality and innocence (by napierslogs)
"Margaret" took years to get to us, seemingly even longer to play out, but tells a story so poetic and heartbreakingly real that you couldn't imagine it any other way. Lisa Anna Paquin is a teenager; she's lost in her own world by her own misguided arrogance, but she must come to terms with death and the true nature of a tragic accident.The film starts with Lisa in high school determinedly getting her way even though she probably doesn't deserve to. Nonchalantly waiting 'til class is over and wearing a skirt too short, she saunters her way to the front where her <more>
math teacher, Mr. Aaron Matt Damon , chastises her for her poor grades. But with a slightly flirtatious tone, Lisa settles the matter with a supposedly shared understanding that it's okay because math won't factor into her future.Later, Lisa sets out to find a stylish but functional cowboy hat in the middle of New York City. She is unsuccessful until she spies one on the head of a boyishly handsome bus driver Mark Ruffalo and jauntily jogs beside it determined to get his attention to both: find out where he got his hat; and also to quench a teenage girl's desire of just getting his attention. She succeeds; he drives through a red light, and kills a pedestrian in the process.Lisa immediately feels the pain, guilt and remorse and tries to ease the woman's passage into the afterlife. The film then becomes a character study of a teenage girl determined to get past the pain and aftermath of a tragedy caused by a simple accident. The fascinating parts of this film involve how our lead character becomes less sympathetic but more fragile while remaining equally reckless.Questions about the cause and nature of mortality are raised, and most interestingly what are the moral and immoral ways to respond to it. The film's title comes from the poem "Spring and Fall: Margaret, Are You Grieving? " written by Gerard Manley Hopkins in 1880. Margaret is a child who must come to terms with the loss of her innocence. "Â… And yet you will weep and know why. Now no matter, child, the name; Sorrow's springs are the same." Lisa's English teacher Matthew Broderick recites this poem to the class. Lisa is, at times, a typical teenager, bent on having things her way, always having her point heard. But now the shaky foundations which her arrogance is based on begin to crumble and we don't know and she doesn't know if she's still innocent or where she lost it.The shortened released version of "Margaret" clocks in at over two and a half hours; edited down from the three-hour director's cut. But because of the universal tale of life and death that it tells, it needs the length. It doesn't have a simple plot, and Lisa is not a simple character. It can definitely seem errant with its uneven editing, but that's probably going to be an expected outcome of 6 years' worth of legal and creative battles going on behind the scenes.Broderick and Ruffalo re-team from Lonergan's previous indie success "You Can Count on Me" 2000 , but don't expect any actor to show more range or emotion than Anna Paquin. Everything goes through Lisa.
This is one of those films which have so much heart that their flaws hardly matter. The film's main character is a young woman, no angel herself, who is confronted with the hypocrisy of the adult world in the aftermath of a traffic accident. That sounds like a recipe for a conventional and sentimental morality tale, but this film is anything but that. Instead it pits its young protagonist against a circle of elders who have in their different ways accommodated themselves to life's hard realities. She holds on tenaciously to what most of them lost long ago, her passion and rage and a <more>
burning desire for justice. But along the way she makes her own compromises, and her victory, if that's what it is, is both hard-won and deeply equivocal.This film shares with director Kenneth Lonergan's previous film, You Can Count on Me, a gentle and amused but unflinching view of human nature. The vision here, though, is much darker. The film tends to proceed on the assumption that conflict in human relationships must erupt sooner or later in confrontation, and this results in a film with a somewhat episodic structure and rather a lot of shouting matches. The film nevertheless wins our trust by caring enough not to fob us off with easy answers or easy cynicism. It does not even give us a particularly sympathetic heroine to identify with, only a flawed human being who will have to come to terms with her mistakes like everyone else. A film like this wouldn't work without individual and ensemble acting of the greatest intensity and honesty, and that's what it has. The title, by the way, is a reference to a Gerard Manley Hopkins poem that is quoted in the course of the film. Another poem comes to mind, the one by Yeats that goes, "But I am old and you are young/And I speak a barbarous tongue".
Sometimes you can despise the protagonist but still love the film. (by TheSquiss)
The horror of watching a woman dismembered by a bus does not eliminate the pain and trauma of life, relationships and teenage angst that Lisa Anna Paquin is enduring and forcing family, peers and teachers to suffer with her. What it does do, after her initial lie, which is questionably honorable, is prompt her into action, misguided as it may be.Lisa convinces herself that she's fighting for justice and others, swayed by her vehemence, join the cause and convince themselves likewise. Self-deception and wayward morality of various types unfold across the two and a half hours of this <more>
sensitively shot slice-of-life drama. Powerful and thought provoking though it is, it meanders to a wholly unsatisfactory resolution that left me feeling perturbed. My personal journey through the film took me through avenues of sadness, outrage, frustration and simmering anger.Not least amongst the reasons was the principal protagonist, Lisa, who is at heart immoral, thoroughly manipulative and deeply immoral. I don't like her. She's dishonest and blind to her own failings and dishonesty. I'm not given to violence but, had she been projected as a hologram in front of me, I'd have had a good go at throttling her.But it's not important to like a character in order to appreciate them. All of the characters are flawed and several would be best avoided at a social gathering, but they are flawed because they're real, or rather written and played with reality in mind. Lisa's actress mother, Joan, is, in her own way, as lost as her daughter, craving approval from Lisa but finding it only from her audience. Emily, the best friend of the corpse, is hurt, confused and angry, lashing out unreasonably at Joan's boyfriend Jean Reno for being anti-Semitic, although we later discover how inaccurate that was. People snap because they are hurt. It's understandable but it certainly doesn't stop one wanting to climb through the screen and yell at them for being so bitter, unreasonable and, in Lisa's case, odious. That such emotions are wrung from the viewer is testament to the precise performances of the actors and the firmly sensitive touch of writer/director Kenneth Lonergan. Even Alison Janney, as the casualty, makes her few minutes of screen time horribly memorable; last night I dreamt vividly of bloody and limbless victims struggling to comprehend their mortality. It's difficult to understand how a film shot in 2008 has only just reached our cinemas and that, last month when it opened, it did so in a total of one screen in one cinema for one week in the UK. I'd like to think my final word in Mark Kermode's video blog at 4 mins 10 secs had something to do the slightly increased exposure this month but it's probably just that, ultimately, quality is destined to triumph over popcorn fodder.At 150 minutes it's too long. Approximately one minute too long. The final scene gives hope that a level of honesty has finally been attained but then tragically, no, corruptly dissolves that hope by going too far for too long and undermining what might have been a redeeming step. It isn't! It's mawkish and as dishonest as this current stage of Lisa's life.