Don't let the present 6.2 rating here fool you. This movies is below the average. And please do not watch it because you like Amy Adams. She barely appears in the movie.The whole plot looks forced, specially Adams' character, which was there probably to fool viewers into watching this. The story does not lead anywhere and tries too hard to be a lesson in life.Pretentious, without any new ideas, and pointless are the best adjectives to describe it. It's the first work of this director, who clearly intended to make a emotionally loaded movie with a message, but ended with a broken piece.

This movie hit very close to home as my mother decided to stop all medical intervention 4 years ago. We didn't have the messy family dynamics but there were 13 family members in the room from great grands to her husband so many personalities. This movie did a great job of revealing the process after a loved one makes a choice to stop medical intervention except not everyone dies so quickly. She was not overdosed on morphine but she was heavily dosed to keep her comfortable and not aware she was suffocating slowly. One day of waiting for all the hoops to be jumped through and then it took 2 days for her to die and like in the movie the room exploded with cries. If you want to understand the experience this is a good movie to see.

A triumph of 2-dimensional characters, drawn with a crayon, of whom it's impossible to care about even one.From cliché tropes and dreadful TV movie dialog to the insulting racist and antisemitic stereotypes, we move from one uncomfortable, phoned in faux-motional outburst to another, punctuated by belabored death bed pronouncements croaked from said bed that seems to be all over the fantasy hospital-- its inhabitant looking on, ghostly and benign.This ham handed pro assisted suicide flyer is a small, small film, that never should have made it past broadcast television. Avoid at all costs.

Andrew Levitas makes his screen writing and directing debut in this little film LULLABY and for a first time effort, despite all the rough unfinished edges of the canvas, he gives notice of a man with a fairly keen perception of the complex interrelationships of dysfunctional families.Jonathan Lowenstein (Garrett Hedlund) lives in Los Angeles attempting to become a singer of note and has been estranged from his wealthy New York family for years, always feeling as though he was unable to live up to his father's expectations. One day, he suddenly receives word that his terminally ill father Robert Lowenstein (Richard Jenkins) wishes to be taken off life support after a 12 year struggle with lung cancer and has 36 hours to live. When he agrees to visit his father, he unintentionally sets up a family conflict with no easy resolution. His mother (Annie Archer) has been caretaker of Robert and is happy to have the family reunited: Karen (Jessica Brown Findlay), the younger sister in law school, struggles with resentment for Jonathan, Jonathan detests the fact that he must observe the dying wishes of Robert (including setting up Seder when Jonathan has a history of disregarding his Jewish heritage), cope with Karen's acerbic flairs, deal with a stranger Meredith (Jessica Barden) who is 17 years old and dying of bone cancer who shares her needs with Jonathan and he with her, and re-encountering his lost love Emily (Amy Adams). Some of the best moments are provided by Jennifer Hudson as the potty mouth bitchy nurse, Terence Howard as the attending physician who is to aids Robert's 'assisted suicide', and Daniel Sunjata as a policeman who joins in the Seder. Though there are funny moments the story hangs on the subject of death and end of life situations, sharing the manner in which we evaluate our lives and our purposes in this life at that transformative moment of death of a loved one. Though falling frequently into the overplayed anger/grief/sobbing triad the actors are very fine and they make the film worth watching. Grady Harp, July 14