Very very predictable, including the post credit scene !!!

Good movie but grossly overrated

Easily the biggest piece of Right wing non sense propaganda I ever saw.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Absolutely incredible acting, particularly by Juliana Moore. A sobering look into the issues in the circa 1950s, and how far we have advanced in our understanding, acceptance of various race/homosexuality/interracial relationships, yet we have so far to go.

Suburbia is a subject that has been tackled in numerous novels and films over the decades, and most of them have the same general message that the inhabitants of suburbia, despite the happiness on the surface, are actually troubled people. FAR FROM HEAVEN is really no different in that regard. It is a period piece set in 1950's New Hampshire, and revolves around a (supposedly) happy married couple played by Julianne Moore and Dennis Quaid. To avoid any plot specifics I'll just say that the film deals with issues of racism and homosexuality through the lens and attitudes of 1950's America. It is also directed by Todd Haynes, well known for his other films with deal with gay culture and issues. Even though this is the first film I've seen by him, I would imagine that this film is very toned down from he did previously, given the PG-13 rating. One thing the film does really well is take a well-worn topic, but treat it with such dead-face sincerity that it almost comes off as a parody. Yet, this film really isn't that funny. In fact, it provoked little emotional response out of me in general other than the occasional bemused chuckle. While some might count this as a negative, I don't necessarily see it that way because I feel like this film's goal is to emulate a style of film and filmmaking rather than to comment on it in a postmodern way. The style of film I believe this film takes its cues from is the 1950's melodrama, e.g., PEYTON PLACE. Todd Haynes really showed an affection for this era in the overall design and look of the film, which has this idyllic quality to it. The production design, sets, costumes, etc. were all stylized in such a way that it made me feel like I was watching a film from the 1950's. Even the acting and line delivery was ever so slightly stilted to give off such a vibe. However, the one element that brought everything together was the beautiful score by Elmer Bernstein which lent an air of longing and yearning that complemented the film's thematic concerns quite nicely. Overall, FAR FROM HEAVEN doesn't have a unique story and the fact that it doesn't have much below the surface while at the same time portraying a milieu famous for being shallow is kind of ironic. Still, it is lovingly crafted and features some fine performances from its cast.

Great film that transplants modern day complexities into the idyllic settings of 1950's films. Actually, it brings to the surface issues that were greatly suppressed, yet existent, in that era. Of course, everyone should know that racial discrimination was both overt and pervasive in every corner of America. But what about homosexuality? Probably so, but hardly tackled by the cinema. Borrowing heavily from Douglas Sirk's 1955 film ALL THAT HEAVEN ALLOWS, starring, ironically, the closet gay Rock Hudson, FAR FROM HEAVEN has a deliciously saturated color palette and languishing camera lens to tease out the storyline. Well-acted by the trio of Moore, Quaid, and Haysbert and a bevy of idiosyncratic bit players, this is one film you shouldn't avoid. ALL THAT HEAVEN was a good template for Haynes to use, as it gave white viewers an opportunity to have a "black experience," by showing the lunacy of discrimination based on things that make no difference. FAR FROM HEAVEN brings that experience to a new level. Six-forked AfroPixFlix says don't let this gem stray far from your queue.

Is this the greatest American film of the "Noughties"? There Will Be Blood might have something to say about that, but Far From Heaven is as damn near to a perfect piece of filmmaking you'll ever see. Todd Haynes would go on to create the solid TV adaptation of Mildred Pierce across five hours. Here, in 100 minutes, he tells a more profound, focused, and affecting story about how so-called civilised society restricts the individual's ability to self-actualise.1950s Connecticut. Julianne Moore plays the committed housewife, Cathy. Her husband is Frank, played by Dennis Quaid. Together they are Mr and Mrs Magnatech. When Kathy stumbles upon Frank kissing a man, their perfect facade begins to crumble. Frank seeks a "cure"; Kathy seeks solace and comfort in her black gardener, Raymond (Dennis Haysbert); while the world around them seeks salacious gossip.The elegance with which these strands play off each other is romantic, poetic, even operatic. Haynes' script and direction, and the performances, mimic the melodramatic style of the films of the period in which this one is set - the socially conscious films of Douglas Sirk and Max Ophuls are obvious stylistic and thematic inspirations. This is not a film without humour, but the humour is never ironic. Never does Haynes mock the past or wink at the audience of the present.It may take time to adjust to the heightened performances - remember this is a style of medium-shot filmmaking from a former time, before these days of close-ups and naturalistic acting. There is detail in the work of Moore, Quaid, and Haysbert (look closely at the almost imperceptible change in Raymond's eyes as Kathy bids him farewell outside the movie theatre) - but there is just as much drama in the film's stunning cinematography, and in its bold use of lighting and colour, including the beautiful costumes. It's a film that could practically function without dialogue. It is also a film that should endure for another 50 years, and beyond.