A grueling, gloppy, false film. A poet father (Sam Shepard) goes missing (and then dies) and the family is summoned to bury him. They proceed to vomit all over each other as the matriarch (Meryl Streep) goads and undermines the lot of them.

It is based in Oklahoma, which elicits exaggerated heartland/Southern accents and theatrical, hokey back-and-forth (Julia Roberts’ “get tough” bit with her mother, Streep, is laughably unconvincing). There are confrontations and serial reveals of family secrets, followed by more wailing and teeth-gnashing, and that’s about the whole of it.

The film is adapted from a stage play, which encourages overacting. Streep and Roberts are particularly culpable, the former not so much in technique but in volume and size. She positively leers at her stupid family, and horns near come out of her head. Naturally, the Academy nominated them both for Oscars, but nobody in their right mind would spend another minute with these women after the mildest of their taunts or insults.  But there this family of dolts sits, taking it just like the audience.

There’s not a genuine moment in this monstrosity.

I avoided this film because of an aversion to dramas about viruses and plagues and because I was still shellshocked at the total crappiness of the 1995 Dustin Hoffman vehicle Outbreak (guess what?  The military did it!).  Unless the eventual outcome of a filmic plague is zombies, 21 Days Later-esque “rage” victims or altered humans ala’ The Omega Man, count me out.

But you’ll watch most anything in a hotel, and Contagion had three extra things going for it – it was the $4.99 special, a few friends recommended the picture and it was directed by Stephen Soderbergh.  Despite my reticence, I was treated to an engrossing, intelligent and moving drama about what a 1918-like worldwide plague (where the entire world lost 1% of its population) would look like today.  The answer through Soderbergh’s eyes is — not pretty, but not hopeless.

The films starts with poor Gwyneth Paltrow, who is the second carrier of an infection transmitted by touch.  Once she is identified as Patient 1 (a Chinese cook is actually Patient 0 – he touched the pig who ate the bat got that started this whole mess, and then he shook Paltrow’s hand), we follow her from China through Chicago and to Minneapolis, where she has touched at least a dozen people  And an epidemic starts.

Soon, the government (Laurence Fishburne at the CDC, Bryan Cranston at Homeland Security) swings into action, regular CDC folk (Kate Winslet, Jennifer Ehle) act heroically, an internet crackpot become a messiah (Jude Law), and Paltrow’s husband and many other regular folk have to deal with a paralyzed world.  Lawlessness increases because law enforcement is sparse; fear runs rampant; trash piles up in the street; and people hole up waiting for aid and/or a vaccine.

This is a gripping, sober thriller, thankfully bereft of the normal tropes of the genre.   The government did not create the virus for military purposes; almost every character is doing the best they can under difficult circumstances; and while society does break down, it also holds up.

All the actors are very good and very believeable.  Special kudos to Matt Damon, who continues to be the least-appreciated American actor of his generation.  He had the misfortune of being outshined by Jude Law in The Talented Mr. Ripley and Jack Nicholson and Mark Wahlberg in The Departed.  They got the nominations and Damon, who carries both films with decidedly more difficult roles, got squat.  Here, he serves as the father who has lost a wife and son and seeks to ensure his surviving daughter is not affected while at the same time giving her some life of normalcy. The scene where he is told his wife is dead is particularly moving.

Final note:  Gwyneth Paltrow gets the Lifetime Achievement Award for Actress Who Allows Herself to Be De-Glamorized to Best Serve the Role (you’ll know what I mean when you see it).

My first thought before watching Locke was of Hitchcock’s Rope, a film remembered more for the gimmick of no cuts than its merit. With an entire film consisting of hands free cell phone conversations from a car, I was primed to evaluate how the director handled such a limited visual scope. It’s a testament to the film that 10 minutes in, I never once gave another thought to that limitation. Ivan Locke (Tom Hardy) is a precise, obsessive construction manager, and on the eve of his greatest work triumph, his personal and professional lives implode, a disaster made worse by his determination to do one thing above all others. As he travels to his destination, he attempts to cobble together the fragments of his shattered life while figuratively sparring with the ghost of his deceased father in the backseat. Hardy, who seems to get every plum role these days, goes a good way to explaining why here. He is riveting and he expands his physical constrictions, evoking desperation, skill and even some gallows humor in the process. This is an audacious, confident second feature by writer director Stephen Knight, who I am pleased to report is writing the forthcoming World War Z 2.