Just saw
The Deep End and
The Man Who Wasn't There but my top ten list remains unchanged.
While watching
The Deep End, I couldn't help but make comparisons to
In the Bedroom and ultimately finding
The Deep End to be a weaker film overall. The straight thriller aspects of the film felt cheap (although it was intended to be in the spirit of a "post-war melodrama" according to the interviews on the DVD, which I am, alas, unfamiliar with) and Beau (the son) was too flat of a character for me to even care what happened to him. Tilda Swinton gives an amazing performance (with a very believable American accent), however, and really anchors the film by juggling a dead-body, house chores, a crotchety in-law, ballet, and soccer practice in a way that only a "single mom" can.
I really wanted to like
The Man Who Wasn't There but ultimately, I could not connect with the film, unable to grasp what the filmmakers were trying to accomplish. It both hints at an ordinary man who finds himself in an extraordinary situation due to seemingly reasonable decisions (a la
Blood Simple) and at the bizarre reality of life when closely scrutenized (crystalized in Freddy Riedenschneider's opening remarks deleted scene) - nevertheless, I was left with a profound sense of loss when I realized how close the Coen brothers had come to making another great film, and really felt that the X-files motif (especially in the third act) further detracted from the film's ability to achieve greatness. The film looks so good in black-and-white, however, that I wouldn't be surprised if it sparked a renaissance in monochromatic cinema, and commendations must be given to Roger Deakins for an amazing use of light and shadow in true noir fashion. Two scenes that left me inspired: the ten different haircuts for 10 year-old boys, and the scene where the two detectives tell Ed that his wife has been arrested.
"Well, you just missed visiting hours for today, but you could see her tomorrow."
The Deep End 
(out of 5)
The Man Who Wasn't There