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The Safety of Objects

The Safety of Objects

Drama · 2002

In a suburban landscape, the lives of several families interlace with loss, despair and personal crisis. Esther Gold has lost focus on all but caring for her comatose son, Paul, and neglects her daughter and husband. Lawyer Jim Train is devoted to his career, not his family. Helen Christianson wants to find a new spark in life, while Annette Jennings tries to rebuild hers.

Movie details

The Safety of Objects

“What do you hold on to when your world turns upside down?”

2002 Drama 2h 1m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

In a suburban landscape, the lives of several families interlace with loss, despair and personal crisis. Esther Gold has lost focus on all but caring for her comatose son, Paul, and neglects her daughter and husband. Lawyer Jim Train is devoted to his career, not his family. Helen Christianson wants to find a new spark in life, while Annette Jennings tries to rebuild hers.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Safety of Objects?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Rose Troche

Written by

Rose Troche

Glenn Close

Glenn Close

Esther Gold

Dermot Mulroney

Dermot Mulroney

Jim Train

Jessica Campbell

Jessica Campbell

Julie Gold

Patricia Clarkson

Patricia Clarkson

Annette Jennings

Joshua Jackson

Joshua Jackson

Paul Gold

Moira Kelly

Moira Kelly

Susan Train

Robert Klein

Robert Klein

Howard Gold

Court is in session

Put The Safety of Objects on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.