
Crooked Hearts
Directed by Michael Bortman
Produced by A&M Films, MGM-Pathé Communications
A melancholic family drama that excavates the resentments and secrets festering beneath an upper-middle-class facade, centered on adult children trapped in dysfunction.
An upper-middle class family in Washington state deals with failures, infidelities and troubling secrets. Charley is 26 and still lives at home, despite his simmering anger at his father, Edward. Charley's younger brother, Tom, just dropped out of college and returned home to live. Tom's unstable new girlfriend, Marriet, has designs on joining the family, but she's hardly a calming influence on the crumbling home.
Clusters
Questions people ask
Is Crooked Hearts sad? Yes, very. More sad than 92% of films.
Does Crooked Hearts end with hope? Not especially. Less hopeful than 70% of films.
Is Crooked Hearts scary? Not especially. Less frightening than 65% of films.
Is Crooked Hearts violent? Not especially. Less violent than 64% of films.
Is Crooked Hearts easy watching? Not especially. Less comforting than 61% of films.
These describe how the film comes across, measured across the whole film and compared with other well-known films. They are not a content list — nothing here was counted or checked scene by scene, so for age-suitability or specific content use a classification board or a dedicated content-warning service.
Cinnamon Score
How much this film gives you that nothing else will, and whether it delivers.
Conventional, and it does not land.
How unlike any other film this one feels
How much more it delivers than it promises
How much audiences actually like it
Ensemble












Like Crooked Hearts
Nearest across the full emotional profile.
Same Mood as Crooked Hearts
Nearest on what's most distinctive about this one.
Like Crooked Hearts, But Darker
Similar, pushed toward heavier and more intense.
Like Crooked Hearts, But Lighter
Similar, pushed toward warmer and easier.
Like Crooked Hearts, But Less Popular
Same territory, far fewer people have seen it.

















































