Nick Schager Reviews Rabbit Hole

Rabbit Hole is filled with the anger and inconsolable grief of parents who’ve lost a young child, messy emotions that never manage to disrupt the phony tidiness of John Cameron Mitchell’s carefully arranged drama. An about-face from his prior Shortbus, Mitchell’s film – written by David Lindsay Abaire, based on his Pulitzer-winning play – picks up with Becca (Nicole Kidman) and Howie (Aaron Eckhart) eight months after the death of their four-year-old son, a tragedy that isn’t announced so much as allowed to creep out in small increments amidst frosty familial exchanges, spousal discussions, and support-group meetings. Unable to cope with what’s occurred, the two are slowly drifting apart – Becca struggles to mask resentment over her wayward sister’s pregnancy and wants to remove all traces of her child from her home, while Howie is frustrated with Becca’s emotional and sexual detachment and clings tightly to mementos (refrigerator-posted paintings, an iPhone video) of his dead son.

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