---
title: "August: Osage County"
year: 2013
kind: "film"
canonical: "https://film.one/film/august-osage-county"
fi1m_id: "august-osage-county"
imdb_id: "tt1322269"
tmdb_id: 152737
wikidata_id: "Q4055443"
fi1m_score: 57
critics_score: 54
critics_reviews: 23
published: "2026-10-01T22:23:35.476060+00:00"
updated: "2026-10-01T22:23:36.040824+00:00"
region: "BG"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# August: Osage County (2013)

Directed by John Wells · 2h 01m · Comedy, Drama

## Identity

August: Osage County

- **Canonical:** https://film.one/film/august-osage-county
- **Type:** Film
- **Fi1m ID:** august-osage-county
- **IMDb ID:** tt1322269
- **TMDB ID:** 152737
- **Wikidata ID:** Q4055443
- **Same entity:** https://www.imdb.com/title/tt1322269/, https://www.themoviedb.org/movie/152737, https://www.wikidata.org/wiki/Q4055443

**Fi1m score: 57** · Critics 54 from 23 reviews

*In a sentence:* A family dinner with excellent actors and no apparent way to ask for a quiet table

> Julia Roberts and Julianne Nicholson make the family quarrels worth listening to, but John Wells lets too much of the drama become a shouting match. There is good acting here without enough reason to recommend the film.

## Synopsis

Violet Weston (Meryl Streep) and Barbara Weston (Julia Roberts) face each other across a family argument that keeps drawing in more people. Ivy Weston (Julianne Nicholson) is quieter, but has her own place in the dispute. Karen Weston (Juliette Lewis), Mattie Fae Aiken (Margo Martindale) and Charlie Aiken (Chris Cooper) are among those caught up in the exchanges. Barbara pushes back against Violet, and the conversation becomes a contest over who gets to speak and who has to listen. Resentments emerge through accusations, speeches and attempts to answer back.

## Review

*August: Osage County* has enough sharp acting to keep a family row interesting, but not enough control to make two hours of rows worth the trouble. Tracy Letts’s screenplay offers plenty of opportunities for people to be cruel, funny and furious, sometimes in the same exchange. John Wells lets the actors press those opportunities so hard that the quieter responses struggle to register. The film wants us to recognise something painful about families, but too often the shouting makes it difficult to care who has been hurt.

Meryl Streep makes Violet Weston aggressively watchable, particularly at the family dinner, where her pleasure in making everyone uncomfortable is plain. We laughed at her relish for hurting people, then felt worn down by it. The performance leaves little doubt about how much damage this woman can do, but its emphatic delivery also makes the next attack too easy to anticipate. John Wells gives the display plenty of room and does too little to interrupt its rhythm.

Julia Roberts is more involving as Barbara Weston because anger does not exhaust what there is to watch in her face. Her close-ups suggest someone who dislikes her own behaviour even while refusing to stop, and that makes the quarrelling more uncomfortable. Julianne Nicholson, playing Ivy Weston, holds our attention without demanding it; her quieter performance gives us time to notice a response instead of simply waiting for the next speech. Both actors make the family seem capable of hurting people without raising their voices.

Chris Cooper gives Charlie Aiken a similar advantage, making the longer speeches feel like something a person might need to say. His control is welcome in company where so much dialogue arrives already underlined. Margo Martindale brings a convincing mixture of force and feeling to Mattie Fae Aiken, and her performance makes the family’s unpleasantness harder to dismiss as mere theatrical entertainment. But the crowded subplots keep dividing our attention, and the supporting actors cannot all make their material feel equally necessary.

Adriano Goldman’s cinematography is most useful when Julia Roberts is allowed to hold a close-up. Elsewhere, the attention paid to individual performances makes it harder to watch the family behaving together, which is surely part of the pleasure of assembling this cast. David Gropman’s production design leaves less impression than it should because John Wells makes so little dramatic use of the shared space. We need to notice who is listening and who would prefer to leave, even when somebody else has the speech.

Stephen Mirrione’s editing does not find enough difference in pace between the disputes, so their accumulation becomes tiring. The interruptions from other strands further weaken the momentum, giving the film more business without making its central confrontations more involving. Gustavo Santaolalla’s music is too ready to supply tenderness when the performances might have found something more awkward and less reassuring on their own. The score insists on sadness at moments when we still need the people to convince us.

A family drama can stay in one place and still give us plenty to notice; confinement is not the difficulty here. At 121 minutes, this one has time to let resentment develop through something other than another confrontation. Its dark comedy works often enough to suggest a sharper, less exhausting film, and the restrained performances show that the dialogue does not always need such strenuous help. If relentless family arguments already feature in the evening’s plans, there is little reason to add these.

*Fi1m score 57, published 1 October 2026.*

## What the critics say

The reviews lean mixed to negative on August: Osage County, with praise clustering around the cast rather than the adaptation. Meryl Streep and Julia Roberts receive repeated approval for their combative scenes together, while Chris Cooper, Margo Martindale and Julianne Nicholson draw notice for quieter, more controlled work. Even several unconvinced critics find the family confrontations entertaining, though there is little agreement on whether the emphatic acting makes the drama involving or merely exhausting.

The recurring reservations concern stage-bound staging, flat or heavy-handed direction, crowded subplots and shouting that blunts the dark humour. The spread is wide: Eye for Film embraces the film as a chilling, funny family drama, while the Los Angeles Times finds that even this cast cannot make the characters engaging. Streep also divides opinion: Digital Spy admires Roberts’s grounded performance but finds Streep emotionally unconvincing, despite enjoying the film’s bleak comedy.

## Straight answers

**Is August: Osage County worth watching?**

*August: Osage County* has acting worth watching, but we find its relentless family quarrels too exhausting to recommend and score it 57/100. Julia Roberts and Julianne Nicholson give the anger some quieter, more involving responses; viewers drawn to performance-led family dramas may find enough here, provided they can tolerate repetitive shouting and crowded subplots.

**How long is August: Osage County, and what is it rated?**

*August: Osage County* runs 2h 01m. It is a comedy and drama film.

**Where can I watch August: Osage County in Bulgaria?**

*August: Osage County* is not on any streaming or rental service in Bulgaria at the moment. It is available in 23 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is August: Osage County, and is it suitable for children?**

*August: Osage County* carries a UK 15 certificate and is not suitable for children under 15; its family confrontations are cruel, heated and emotionally wearing. We find the sustained verbal hostility exhausting rather than frightening, with relatives taking pleasure in hurting one another, so older teenagers and adults sensitive to family conflict may find it uncomfortable.

**How does August: Osage County compare to Secrets & Lies?**

*August: Osage County* is the more exhausting family drama; we recommend [*Secrets & Lies*](https://film.one/film/secrets-and-lies) for its greater patience with the people causing the hurt. Both find humour and pain in difficult conversations, but Mike Leigh’s film makes those exchanges matter more, even when its writing spells out feelings that the performances have already made clear.

**What should I watch after August: Osage County?**

After *August: Osage County*, try [*Secrets & Lies*](https://film.one/film/secrets-and-lies) (1996, Fi1m 88): Another family gathering, with more patience for the people doing the damage. Then [*The Celebration*](https://film.one/film/the-celebration) (1998, Fi1m 85): A family dinner whose discomfort comes from more than the volume; and [*Rachel Getting Married*](https://film.one/film/rachel-getting-married) (2008, Fi1m 84): An abrasive family reunion with room for affection alongside the accusations.

### Reviews we read (23)

- **Variety**, Scott Foundas (78/100, inferred): Foundas finds the adaptation faithful and successful, though its familiar theatrics may not appeal to highbrow critics. He especially praises Meryl Streep’s electrifying performance in the funeral-dinner scene, with Julia Roberts also singled out for strong work. [Read](https://variety.com/2013/film/markets-festivals/august-osage-county-review-toronto-1200606164/)
- **IndieWire**, Eric Kohn (B): Kohn finds the adaptation uneven but watchable, with its theatrical showcase often overwhelmed by histrionics and crowded subplots. He praises Julia Roberts’s commanding performance and Chris Cooper’s transfixing monologues. [Read](https://www.indiewire.com/criticism/culture/review-meryl-streep-julia-roberts-and-more-carry-john-wells-watchable-adaptation-of-tracy-letts-august-osage-county-31891/)
- **Screen Daily**, Tim Grierson (70/100, inferred): The review presents the film as a darkly comic drama driven by its performances. It singles out the cast’s emphatic acting as the dominant feature. [Read](https://www.screendaily.com/august-osage-county/5060258.article)
- **Empire**, Ian Freer (65/100, inferred): Freer finds the film entertaining but held back by pedestrian direction and its theatrical origins. He singles out the performances, especially the scenes between Meryl Streep and Julia Roberts. [Read](https://www.empireonline.com/movies/reviews/august-osage-county-2-review/)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict is unavailable. Its specific praise or criticism cannot be verified from the supplied page. [Read](https://www.rogerebert.com/reviews/august-osage-county-2013)
- **The AV Club**, Ben Kenigsberg (C+): Kenigsberg finds the adaptation forgettable and weakened by heavy-handed direction, a sappy score, and lost momentum. He praises the dinner scene’s lingering acid touch and Julianne Nicholson’s performance as Ivy. [Read](https://www.avclub.com/leave-it-to-the-weinsteins-to-turn-august-osage-county-1798179039)
- **Radio Times**, Alan Jones (3/5): Jones finds the adaptation histrionic rather than involving, with its dark social satire blunted. He criticizes the family drama for becoming a screaming match. [Read](https://www.radiotimes.com/movie-guide/b-4c7rjt/august-osage-county/)
- **Time Out**, Tom Huddleston (3/5): Huddleston gives the film three out of five, a measured rather than enthusiastic verdict. The available description singles out Tracy Letts’s writing as a blend of theatrical drama and tabloid-style conflict. [Read](https://www.timeout.com/movies/august-osage-county)
- **The New York Times**, A.O. Scott (50/100, inferred): Scott gives the film a mixed verdict, finding it uneven and overstuffed. He singles out the performances, particularly those of Meryl Streep and Julia Roberts, while faulting the film’s overheated melodrama. [Read](https://www.nytimes.com/2013/11/28/movies/meryl-streep-may-scare-her-fans-in-august-osage-county.html)
- **Evening Standard**, The Standard (35/100, inferred): The critic finds the film a stage-bound substitute for the play, limiting its effectiveness on screen. Meryl Streep’s forceful performance is singled out for praise. [Read](https://www.standard.co.uk/culture/film/august-osage-county-film-review-8806175.html)
- **Slant Magazine**, Nick McCarthy (35/100, inferred): The critic finds the adaptation serviceable but too cautious to deliver the source material’s full force. The ensemble cast is praised for working tightly together, while the film’s missing humor and weakly melodramatic moments draw criticism. [Read](https://www.slantmagazine.com/film/toronto-international-film-festival-2013-august-osage-county-review/)
- **The Guardian**, Catherine Shoard (35/100, inferred): Shoard finds the adaptation theatrically constrained and more exhausting than illuminating. She praises Streep’s bracing performance but says the film’s respectful fidelity and static setting blunt its impact. [Read](https://www.theguardian.com/film/2013/sep/10/august-osage-county-review-toronto)
- **Vulture**, David Edelstein (35/100, inferred): Edelstein finds the adaptation entertaining at times but ultimately histrionic and inauthentic. He praises Julia Roberts’s command of the close-up, while faulting John Wells’s fractured direction for undermining the ensemble. [Read](https://www.vulture.com/2013/12/august-osage-county-movie-review-meryl-streep-julia-roberts.html)
- **The New Yorker**, David Denby (30/100, inferred): Denby finds the film awkward on screen, with its theatrical origins and overbearing style undermining its performances. He singles out Julia Roberts’s portrayal of Barbara’s anger and self-disgust as the most interesting element. [Read](https://www.newyorker.com/magazine/2014/01/06/home-truths-2)
- **Los Angeles Times**, Kenneth Turan (15/100, inferred): Turan finds the film deeply disappointing and says its talented cast cannot make the characters engaging. He singles out the stage-like dialogue and situations as ineffective on screen. [Read](https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-august-osage-county-movie-review-20131227-story.html)
- **Eye for Film**, Anne-Katrin Titze (90/100, inferred): The critic strongly praises the film as a chilling, funny family drama driven by an exceptional ensemble. She singles out the performances, especially Meryl Streep’s portrayal of Violet and the finely layered work of Margo Martindale. [Read](https://www.eyeforfilm.co.uk/review/august-osage-county-2013-film-review-by-anne-katrin-titze)
- **Digital Spy**, Emma Dibdin (4/5): The review finds the film a pitch-black pleasure despite stage-bound, mannered direction and an emotionally unconvincing Streep performance. It singles out Julia Roberts’s abrasive, grounded turn and her fraught scenes with Streep as mesmerising. [Read](https://www.digitalspy.com/movies/a545408/august-osage-county-review-julia-roberts-in-blistering-drama/)
- **Collider**, Matt Goldberg (B): Goldberg finds the film engaging, though its melodrama and lack of subtlety are offset by dark comedy and strong performances. He especially praises Meryl Streep’s vivid portrayal of Violet. [Read](https://collider.com/august-osage-county-review/)
- **HeyUGuys**, Amon Warmann (3/5): Warmann finds the film worthwhile despite its workmanlike direction and limited cinematic style. He praises the sharp dialogue and especially the strong ensemble performances, including Meryl Streep and Julia Roberts. [Read](https://www.heyuguys.com/august-osage-county-review/)
- **Den of Geek**, Don Kaye (2.5/5): Kaye finds the film’s theatricality and relentless shouting make it ultimately fizzle. He praises Chris Cooper’s controlled performance and Margo Martindale’s naturalistic acting. [Read](https://www.denofgeek.com/movies/august-osage-county-review/)
- **The Playlist**, The Playlist Staff (C-): The review finds the film exhausting and dramatically slack, despite its strong cast. It praises Meryl Streep and Julia Roberts’ performances, with Chris Cooper singled out for a poignant moment. [Read](https://theplaylist.net/review-sprawling-sneering-august-osage-county-starring-meryl-streep-julia-roberts-20131227/)
- **The Skinny**, Josh Slater-Williams (★★): The review finds the adaptation over-neutered and numbing, with John Wells’s flat direction undermining the drama. It praises some subtle performances, particularly those by Julianne Nicholson and Chris Cooper. [Read](https://www.theskinny.co.uk/film/new-releases/august-osage-county)
- **The Wrap** (40/100, inferred): The critic finds the film entertaining but overly broad, with campy theatrics often crowding out its intended gravitas. Margo Martindale is singled out for grounding the family drama with a heartfelt, convincing performance. [Read](https://www.thewrap.com/august-osage-county-review-meryl-streep-julia-robert-go-like-godzilla-vs-megalon/)

## Details

- **Director:** John Wells
- **Director:** John Wells
- **Screenplay:** Tracy Letts
- **Cinematography:** Adriano Goldman
- **Editor:** Stephen Mirrione
- **Music:** Gustavo Santaolalla
- **Production design:** David Gropman
- **Costume design:** Cindy Evans
- **Producer:** Jean Doumanian, Grant Heslov, George Clooney
- **Cast:** Meryl Streep as Violet Weston; Julia Roberts as Barbara Weston; Julianne Nicholson as Ivy Weston; Juliette Lewis as Karen Weston; Ewan McGregor as Bill Fordham; Margo Martindale as Mattie Fae Aiken; Abigail Breslin as Jean Fordham; Chris Cooper as Charlie Aiken
- **Runtime:** 2h 01m
- **Release (Bulgaria):** 31 January 2014
- **Genres:** Comedy, Drama
- **Budget:** $25 million
- **Box office:** $74 million
- **Trailer:** https://www.youtube.com/watch?v=xd0qcN7sexI

## Where to watch in Bulgaria

Not streaming, renting or buying in Bulgaria at the last check.

Also available in: AT, AU, BE, BR, CA, CH, DE, DK, FI, FR, GB, IE, IN, IT, JP, NL, NO, NZ, PT, SE, SG, US, VN. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2014: Best Actress (nominated); Best Supporting Actress (nominated)

## If you liked this

- *Secrets & Lies* (1996), Fi1m 88: Another family gathering, with more patience for the people doing the damage. — [Fi1m page](https://film.one/film/secrets-and-lies.md)
- *Still Walking* (2008): Family resentments emerge through meals and small remarks, without anybody needing to bellow.
- *The Celebration* (1998), Fi1m 85: A family dinner whose discomfort comes from more than the volume. — [Fi1m page](https://film.one/film/the-celebration.md)
- *Autumn Sonata* (1978): For a more concentrated encounter between maternal authority and a daughter’s anger.
- *Rachel Getting Married* (2008), Fi1m 84: An abrasive family reunion with room for affection alongside the accusations. — [Fi1m page](https://film.one/film/rachel-getting-married.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/august-osage-county