Revolutionary Road

There’s little doubt that Revolutionary Road primarily (and ultimately) comes off as a fairly standard domestic drama, albeit one that’s consistently elevated by the superb performances and Sam Mendes’ expectedly enthralling directorial choices. Screenwriter Justin Haythe – working from Richard Yates’ celebrated novel – does a nice job of capturing the suburban angst of the two central characters, and there’s little doubt that the movie ultimately manages to transcend its circa-1950s setting to become a thoroughly relevant piece of work. The spare storyline follows married couple Frank (Leonardo DiCaprio) and April (Kate Winslet) as they inevitably come to regret their decision to settle down and have kids, with Frank’s frustration at work matched by April’s boredom at home. As becomes clear almost immediately, Revolutionary Road benefits substantially from Mendes’ inherently cinematic modus operandi – with the film’s breathtaking visuals proving effective at instantly capturing the viewer’s interest. The degree to which both DiCaprio and Winslet are able to bring their sharply-drawn characters to life certainly plays a significant role in the movie’s undeniable success, as the actors – though forced to bicker with one another for the bulk of the running time – ably transform Frank and April into complex, endlessly captivating figures whose myriad of relatable attributes effectively engender the viewer’s sympathy. The periodic inclusion of electrifying interludes – ie anything featuring Michael Shannon’s unhinged John Givings – ensure that Revolutionary Road remains a cut above such similarly-themed fare as Little Children and The Ice Storm, with the emotional punch of the third act (coupled with a final scene that’s just about perfect) cementing the film’s place as yet another stellar endeavor from Mendes.

***1/2 out of ****