‘Echo Valley’ Review: Killer Duo Julianne Moore and Syndey Sweeney Test the Limits of a Mother’s Unconditional Love

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If you’re seeking the intensity of Julianne Moore from her earlier days, “Echo Valley” directed by Michael Pearce seems reminiscent. Prior to her roles in “Short Cuts” and “Boogie Nights,” and earning an Oscar, Moore portrayed a suspiciously nosey character in “The Hand That Rocks the Cradle.” This ’90s thriller might have been a typical potboiler, but Moore’s performance was captivating. She savored every dramatic line, such as, “A woman can feel like a failure if she doesn’t bring in 50 grand a year and still make time for blowjobs and homemade lasagna.”

For those yearning for the vigor of Julianne Moore from her past roles, the film “Echo Valley,” directed by Michael Pearce, evokes memories of her early career. Before her appearances in “Short Cuts” and “Boogie Nights” and winning an Oscar, Moore played a character that raised eyebrows due to her snooping in “The Hand That Rocks the Cradle.” This ’90s thriller could have been a typical potboiler, but Moore’s performance was riveting. She relished every dramatic line, such as, “A woman can feel like a failure if she doesn’t bring in 50 grand a year and still make time for blowjobs and homemade lasagna.

In the somewhat unconventional series on Apple TV+, Moore skillfully transforms a seemingly typical tale of protective motherhood into something more complex. As Kate Garretson, a farmer in rural Pennsylvania who goes to great lengths to shield her daughter Claire (Sydney Sweeney), who is struggling with drug addiction, from harm, Moore delivers an unwavering portrayal of maternal devotion – one that shows no hesitation when it comes to taking action, even if it means dealing with a corpse in the back seat of Claire’s car. The recent widow, Kate, also grapples with her own grief while facing the potential loss of her only child, further enriching Moore’s performance.

The movie script by Brad Ingelsby, the mind behind “Mare of Easttown”, raises a thought-provoking set of questions, particularly: How would you react if your grown child was spiraling into self-destructive patterns? Already, Kate has depleted all her savings to fund Claire’s rehabilitation. In a brief appearance, Kyle MacLachlan portrays the tough-love option as Kate’s former spouse, on the verge of giving up, yet reluctantly agreeing to write one final check, knowing full well that his daughter will likely squander it.

As I stepped into the cinema, the sight of Sweeney on screen was a stark contrast from the radiant star I’m used to seeing in most roles. Here, her disheveled look, with a rebellious pink tint to her hair and red spots accentuated by makeup, was a startling change. The family dog, Cooper, always barks when she returns – less of a joyful welcome and more of a warning, hinting at the drama that inevitably followed Claire wherever she went.

In this instance, the long-lost child returns, chattering about her recent argument with her questionable boyfriend, Ryan. The more Kate urges her to abandon him, the stronger the pull seems to be for her to return. Moore skillfully portrays the challenging predicament Claire presents for a mother: While her instinct is to protect her child from danger, ironically, Claire poses a risk in herself.

In a chilling turn of events, the movie’s second most terrifying scene unfolds when Claire’s manipulative tactics escalate, pushing her to extort money from Kate. Her strategies range from pulling out her own hair to abducting Cooper. However, the first scariest moment occurs when Claire’s dealer, Jackie (Domhnall Gleeson), makes an ominous appearance at Echo Valley. He demands 10 grand worth of heroin that Claire has allegedly stolen, threatening her with two chilling options: either she recovers the missing drugs or she repays him.

A self-reliant horse riding instructor like Kate isn’t usually faced with such unusual predicaments. So, it’s understandable that she felt a bit relieved when Claire appeared wounded, not herself but Ryan – she claims – because the idea of Claire accidentally killing her abuser is far more preferable than the alternative.

In his directorial roles, Pearce often chooses scenarios that take ordinary individuals to the edge (as seen in past films like “Beast” and “Encounter”, this pattern holds true for “Echo Valley”). Here, Kate sends her child to bed and switches into crisis management, transporting the deceased to a nearby lake and using stones as makeshift anchors to submerge it in the (surprisingly shallow) water. The script by Ingelsby includes many surprises, but the most impactful one unfolds early in the film, when a detail intentionally left out of the movie’s promotional materials is disclosed.

In the movie “Echo Valley,” it’s revealed that Kate’s late partner was a woman, which adds an unique twist to the story although it’s not central to the plot. The lesbian aspect of the narrative lends the film a freshness and provides emotional backing through a group of female friends, with Fiona Shaw leading them. The movie shares a similar tone with 1990s psychological thrillers, often referred to as “woman-in-peril” films, but it more closely resembles “The Deep End,” featuring Tilda Swinton. Both films offer their lead actresses genuine psychological depth, portraying mothers determined to shield their children, even if the logic of the story in “Echo Valley” becomes questionable when Gleeson’s character seeks additional money from Kate after his return.

When you’re just seeking a somewhat engaging show to watch online, such tales might not always demand top-notch performers, but it’s those exceptional actors that keep some of them echoing vividly in our minds for decades.

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2025-06-07 13:16