Best movie ever!

Admirable film.

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

The film makes a home in your brain and the only cure is to see it again.

Alison Lohman has just got to be one of the prettiest girls on film EVER! Okay, so during WHITE OLEANDER she wore a wig, but that's the way she looks anyway. It is a crying shame that she dropped out of the filming scene - she has since returned, but there should have been more from her back in those days.Michelle Pfeiffer is the quintessential actress of her time, she is the very symbol of grace, elegance and female desirability amongst people with a taste for the better things in life. It is therefore quite surprising to see her getting her name shown after the newcomer in the credits. But you're hardly watching before you realize that Alison is some child genius. Okay, then the second surprise, and this one, I think my jaw dropped open when I researched her on Wikipedia... Alison is much older than she appears to be. I mean, she is young, but as Astrid, she looks, well, 14, 16 tops.My regards to the casting department on excellent work with the two main characters. Michelle is superb, Alison is wonderful.The movie itself? Has got to be the worst failure at filming a murder mystery EVER! This has got to be the weakest murder ever committed to film! No wonder there are people in the audience who believe Ingrid is innocent. So, Ingrid seemingly placed some oleanders in a glass of milk, and the police arrested her IMMEDIATELY...? Highly unlikely. .But for fans of Michelle Pfeiffer, a must, and if you want to see a pretty young girl who is, like, charmingly droolworthy, albeit in a very, very innocent way, look no further than Alison Lohman.Ooh, and I am THE South African fanatic when it comes to Robin Wright thanks to her glorious stint as Kelly Capwell in SANTA BARBARA, and you have to go and spoil my memories of her...! Only kidding, great work, Robin!As for Renée, truth and fiction seemed like the same thing. She was cut out for the part. Not meant as a compliment. Check her out in LOVE AND A .45, she shouldn't have gone the Bridget Jones route...After seeing this movie last week, I have since began negotiating to buy more of her titles, starting With WHERE THE TRUTH LIES.

Since the birth of Hollywood, countless films have aspired to dispel the myths surrounding the city of lights, cameras, and action. Films like 1950's "Sunset Boulevard" and 1991's "Bugsy" have juxtaposed palm trees, sunshine, and mansions with murder, jealousy, and madness. These films look pretty and bright, but they showcase the darkest shades of human nature. With his adaptation of Janet Fitch's novel "White Oleander," Peter Kosminsky tries to join the ranks of such Hollywood demystifiers as Billy Wilder and Robert Altman. On that front, he succeeds only marginally. However, on other fronts, he accomplishes quite a bit.When her mother goes to prison for a violent act of vengeance, young Astrid, the protagonist of "White Oleander," floats from foster family to foster family. Due in part to the efforts of her conniving mother Ingrid, Astrid cannot seem to settle down in any one place; conflict always strikes. As time goes by, innocent Astrid must confront the cruelest of circumstances, again and again. Her foster mothers have strikingly different characteristics, but no one of them is what she seems. From her beautiful but selfish mother (Michelle Pfeiffer) to the allegedly "saved" but jealous Starr (Robin Wright) to the kindly but ill-equipped Claire (Renee Zellweger), Alison Lohman's Astrid seems to have nowhere safe to turn.The film's poster says almost all that needs to be said about the plot and theme of "White Oleander." The poster displays the faces of the four leads; all four are blonde, all four look beautiful, and each face seems to meld into the next. While beauty resides, an eeriness pervades the image; everything looks a little too perfect. As it happens, it is. Each face hides some tragic truth that will guide the flow of Astrid's young life. Like the shining city in which the film takes place, the leading ladies of "White Oleander" are externally pretty but internally dark and unstable. This is ail very well, but we've seen it before, done better, in other films. The larger arc of Astrid's character comes across brilliantly, but the structure moves in episodic fashion, which prevents the film from having a true climax. Moreover, the movie's supposed payoff, an imminent confrontation between Astrid and Ingrid, comes across as simply a rehash of what the audience already knows. The film seems too desperate at times to make its point; it even resorts to wistful narration that, while softly spoken, still manages to hit the viewer over the head. Even some of the shots in the film try so hard to show eerie beauty that they come across as hackneyed and heavy-handed. Still, "White Oleander" offers up a lot of greatness in other areas.All four "leading" performances work brilliantly. Alison Lohman has a great understanding of her character, and thus manages to play every one of her emotional and physical states with conviction. While not given much screen time to flex her always exciting acting muscles, Robin Wright fleshes out her Bible-thumping mother with just enough humanity to make her believable; the character stands as a bit of a stereotype, but Wright at least gives it emotional resonance. Even better is Zellweger as Claire. She communicates sweetness and quiet instability with shocking humor and grace; just as Astrid loves and admires her, we do. All things considered, though, Michelle Pfeiffer gives the performance of the film. As Ingrid, she is ferocious. An actress who rarely resorts to theatricality for her roles, Pfeiffer plays every scene so true to character; she is truly scary. In the end, "White Oleander" moves fairly quickly, although not very subtly, towards a disappointing finale. It will not be remembered for its not-so-groundbreaking plot, but it should be remembered for its brilliant performances. Where the film sometimes fails to show the whitewashed grime of its city, the actresses compellingly render the whitewashed grime of humanity.

I was really amazed at the performance delivered by the actors especially alison lohman, renee zellweger and michelle pfeiffer. This is a movie which delivers the story mentioned in the novel in the best possible way. Nice direction and cinematography as well. I was especially amazed by the 2 scenes which showed the location - Ladera Heights in Los Angeles,CA. The way this location was used, the background music (sound created by sea waves), the scene at that moment .. everything was quite intriguing. I repeated that scene many times and thought before dying I should stay in a home like that for at least a week. Ms Zellweger did quite a nice job of a faithful wife devoted to her husband and really felt bad for wht happened later. Its very difficult to get a wife that devoted to her hubby and if a woman like that exists then she should choose a right partner. Pfeiffer's cold-blooded view on life was a little out of the league. But given her life story nothing else wud have been expected. Robin Wright reminded me of so called "God's people" who just read the scriptures and never follow it in their lives. Lohman did a great job acting in various circumstances was at her best through the movie. Overall I give 10 out of 10 and recommend it for people who believe that life's not fair for everyone and for those who want a Feel GOOD movie!

A girl born without a father and raised by a mother who is a real Machiavelli of love, has one day to face her own life through hell when her mother is sent to prison for the murder of her boy friend because he had to let her go on their last meeting because he had a date, which she of course could not accept. The girl knows all the horror there can be in the kind of institution she finds herself sent to or in the foster homes she ends up in. She is nothing but a substitute for something the foster parents do not have, or the dream that her presence is going to solve their own problems, or whatever. But the worst part is of course her mother who is, from behind the wings, pulling the strings that pretend to protect the girl whereas she is only treating her as a possession that has to be defended for future use. She thus more or less creates temptation or even death in those foster homes that could have helped her daughter. When this daughter finally realizes her mother's game it is by far too late and she can only sever the tie, the connection, the link, the bond. And it is then that she builds a compensation and pretends she finally understands that her mother loved her. When it becomes obvious the mother will not be granted an appeal or win the one she may be granted and that she will not be granted parole the daughter has to more or less make it sound as if she were responsible for her mother's crime, her mother's destitution and even her mother's continuing ordeal she deserves quite a lot. Such mothers are puppeteers with their children, daughters, and they turn their daughters into musketeers who are fighting with their own reflection in a mirror, with their own shadows, when it is not with their own mothers' shadows.Dr Jacques COULARDEAU, University Paris Dauphine, University Paris 1 Pantheon Sorbonne & University Versailles Saint Quentin en Yvelines