Things We Lost in the Firepick

Benicio del Toro fuels this optimistic tragedy

By Geoff Berkshire

October 19, 2007

 
Critic's Rating:
3 1/2

Things We Lost in the Fire
Halle Berry and Benicio del Toro in "Things We Lost in the Fire" (Credit: Doane Gregory/DreamWorks/Paramount)
Photos:
A scene from the film "Things We Lost in the Fire." A scene from the film "Things We Lost in the Fire." A scene from the film "Things We Lost in the Fire." A scene from the film "Things We Lost in the Fire."
Things We Lost in the Fire
Running time:
118 minutes
Rated:
R
Cast:
Halle Berry -
Audrey Burke
Benicio Del Toro -
Jerry Sunborne
David Duchovny -
Brian Burke
Alison Lohman -
Kelly
Omar Benson Miller -
Neal
See full cast
Director:
Susanne Bier
Genre:
Drama
Official Movie Web Site:
http://www.thingswelostinthefire.com/
Movie Trailer:
View Trailer
Overall User Rating:
5 (1 rating)
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The sudden death of Brian Burke (David Duchovny) leaves a hole in the lives of his wife Audrey (Halle Berry) and his best friend Jerry (Benicio del Toro), a drug addict trying to get clean.

Big question: Has Berry finally found another good dramatic role, six years after her Oscar winning turn in “Monster’s Ball”?

Catch it: A rare tragic drama that doesn’t let its characters off easy, but doesn’t unreasonably punish them either. “Things We Lost in the Fire” plays like real life, as complicated people struggle to deal with circumstances beyond their control. This is indeed Berry’s best work in years, but her emotionally closed off character is easier to understand than to feel affection for. Del Toro emerges as the film’s heart, in a beautifully delivered lead performance full of humor and subtly played pathos.

Skip it: If you’re hoping to see Berry and del Toro’s characters become more than friends. Flashbacks establish Brian and Audrey’s marriage was still going strong, and the film wisely avoids the awkwardness of forcing her into an intimate relationship with Jerry.

Bottom line: Although some of Danish director Susanne Bier’s visual touches have the pretentious feeling of a European art film (especially an overused handheld camera), the script by Allan Loeb provides a cleaner, more compelling narrative than she had with her foreign language melodramas. Hollywood could always use a few more strong female voices, and Bier’s skillful work with actors and sensitive interpretation of the material proves she’s up to the task.

Bonus: If you’re having trouble falling asleep this film has an interesting solution. Just be warned that results may vary if you can’t get Berry or Duchovny to try it with you.

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