One of the most extraordinary films you will see this year. Take that as you want.

By the time the dramatic fireworks start popping off, each one feels earned.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Blistering performances.

When I read the synopsis and saw that it was made from a play I wondered "How will they work into a story about a project the requisite themes of repressed women, depressed women, teenage angst, and a guy struggling w/ homosexuality but then giving in?" They do that, and so much more. Here's how: A white male architect built a project some years earlier. It's falling apart (maybe) and is dangerous.A black woman lives there with her unwed-mother daughter. Her other daughter is an honor student and lives elsewhere. The woman heads up a group to destroy the project. Her 5-year-old son was depressed and stepped off a building to his death years earlier. The honor student comes to visit; mom gives her some homemade cake; the daughter throws it away later.The architect's son comes home from college, makes some comments about his sisters sn*tch (his word) and his dad's lechery; then he goes to the project where he meets a gay black kid. They flirt; the son is repelled; but he gets some beer and comes back; they walk around the project at night through gang members selling drugs. The gang members don't taunt them. After much dialogue about gay things, they have (explicit) sex on a rooftop.The 15-year-old daughter is beautiful, has a nice body, seems stable. But she's depressed because she has to go to the mall with her parents. Maybe she also has too many clothes or shoes. Or her breasts are too big.She lies that she's in college, goes to a bar, gets picked up, gets scared, is saved by a ~35-year-old delivery guy; they ride around all night in the delivery truck, she comes on to him, he says no and takes her home.The architect's wife is depressed - her BMW is too new, her custom house too clean and neat, her maid too careful, she has too much money - it's hard to tell. She starts breaking flower pots in the back yard at night and stares into space. The architect puts cigarette ashes on a saucer; she breaks the saucer; he gives her a neck rub; she asks for a divorce.The black kid steps off the roof - perhaps he didn't realize that being gay meant being gay? The son goes out to the project. The architect goes out for a different reason. None of the gang members bother them, even though they've been threatening others. They meet on the rooftop.

Apart from seeing his Blue Velvet starlet in a perfect role for her age group, the movie makes you ask questions. This movie really makes people look at cause and effect. It doesn't place blame, rather shows implications of well intentioned, ignorant motivations. As a viewer, you may have to do some soul searching in order to fully enjoy the movie. The meaning of each scene as it is broken up, is a definite plus. At first I was put off by the back and forth breakup of the shots but soon began to conform to the format. I liked the performances of all the actors. It was nice to see Rosselini in her usual subdued role and equally effective. To see the lead actor in a spectacular role I might suggest Lantana!

Anthony LaPaglia stars as Leo Waters, a Chicago-based architect whose domestic life is not as stable as his professional; to wit: his eldest child, Martin (Sebastian Stan), has just dropped out of college and his aimlessness leads to an unlikely assignation; his youngest, daughter Christina (Hayden Panettiere, currently on NBC's hit series "Heroes" as the cheerleader impervious to pain), whose blossoming into young womanhood is proving to be a painful event; and his wife Julia (Isabella Rossellini), a homemaker whose anal retentive disposition is masquerading some still waters running deep. To add further complication, enter Tonya Neeley (Viola Davis), a woman crusading for a petition to have her housing project building be torn down. Convinced the design is the main culprit to the tragic underpinnings of her situation, Tonya elicits Leo's help by forcing him to sign her petition, figuring his name will get the civic wheels in motion. Leo naturally declines, since his ego in check will not recognize that this is the blame for the building's plague of problems (i.e. drug dealing on the premises and general vandalism). But that will not stop Tonya's quest for closure.Based on a play by David Greig, a Scottish playwright, novice director Matt Tauber (a fellow American playwright and film producer making his debut here), adapts with a leaden storyline that mars a genuine plot point: how does housing truly affect its populace. He instead sets up one unlikely premise (Martin suddenly having a gay encounter; Christina lamely seducing a truck driver; Julia going off her nut, et al) that serves no real pay off and loses interest in Tonya's plight (it is apparent that she lost one child, while her surviving off- spring are so disparate they may as well be strangers), which should have been the central focus. While the storytelling misses its mark however the acting is on-target. LaPaglia, one of my favorite actors, gives a complex yet sublime turn as the slightly arrogant and apparently clueless titular character. He is matched note for note by Davis (last seen on screen in a small yet memorable performance in Oliver Stone's "World Trade Center"), imbuing Tonya with dignity yet allowing her inner indignations brim to the surface not unlike a Sameul L. Jackson character.

THE ARCHITECT is a film based on a play by David Grieg that deals with social class dichotomy, lack of communication in families, gender confrontations in youths, and coming to grips with decisions of the past that later haunt. Made on a budget less than a million dollars and shot in twenty days, this unique little movie packs a wallop in the most secretive and subtle way. Directed by Matt Tauber, who also wrote the screenplay with Grieg, it has a fascinating, if at times disconcerting, format of quick scenes flashed before our eyes like simultaneous conversations - and some of the power of the film is piecing those snapshots together as the film ends.Leo Waters (Anthony LaPaglia) is a successful architect, married to a wife Julia (Isabella Rossellini) who seems on the edge of mental instability. They have two teenage children - Christine (a very fine young actress Hayden Panettiere) who at age 15 is aware of her body and yet fearful of its implications in her interactions with boys and men, and Martin (Sebastian Stan) who has returned home from school as a drop out whose mind is preoccupied with soul searching. The discord at home is matched by the incipient calamity ongoing at a Project Leo designed early in his career, a Project now physically crumbling under the weight of drug dealing, crime, and discontent tenants - all led by activist Tonya Neeley (the superb actress Viola Davis) who has one daughter at home with an early conceived baby and another daughter who has stepped out of the Projects to better her education (her twin brother committed suicide in despair of his plight in the Projects). Two families in conflict over different reasons on the surface but sharing a similarity that is demonstrated as the story proceeds.Christina naively begins to frequent bars and is protected by a truck driver Joe (the very fine actor Walton Goggins) who kindly introduces her to the realities facing hormonally charged yet fearful young girls. Martin, in an attempt to understand the Projects problem as explained to his father and family by Tonya, visits the Projects and meets Shawn (the very fine and handsome young actor Paul James) who cautiously helps Martin discover his sexuality only to succeed in allowing Martin to discover his true sexual proclivity but meets a sad ending when he is rebuffed.At the peak of tensions Tonya succeeds in winning over Leo's understanding of her activist dilemma, Julia breaks and leaves her family and both of Leo's children discover life lessons that will imprint their psyches permanently. Minor victories rise out of major turmoil - and the writer and director have the courage to leave the story for us to resolve.It is refreshing to encounter a cast of actors so sensitive as this one. From the leading roles to the most minor of characters the acting is absolutely first rate. We need more films of this caliber to remind us that one of the purposes of art is to allow us to see the problems of our world. Highly recommended. Grady Harp