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|Index||23 reviews in total|
A film which manages to perfectly sum up the dilemma encompassed by the
so-called Generation X: a generation that has never had it better, and has
it all for the taking - if only they could figure out just what 'it' is.
Nick (Tim Roth) carries the momentum of this notion, claiming that what he wants "isn't in here, and it isn't out there...", yet he regardless embarks on a voyage to Butte, Montana which is rumoured to be the City of the Future: "I read that a while ago, so the future's probably already there".
Much of the film is concentrated on the aftermath of his departure, and in particular his decision to leave his girlfriend Beth (Bridget Fonda)behind in Arizona. Beth now must reach a similar decision in Nick's absence, finally deciding what 'she' wants as opposed to the wants of those around her (namely Nick). Also involved in this tangle of relationships are Nick's ex-lover and Beth's best friend (Phoebe Cates), and a painter (Eric Stoltz) whose introduction to the situation further complicates Beth's thinking.
The film, like Glengarry Glenn Ross, is based on a stage play and this is evident in the minimum of locations employed and heavy emphasis on dialogue. However, this is really quite satisfying as characters are allowed to express and develop far much more than is customary in other such, so-called 'soul-searching' films.
Stand-out performances from Fonda and Roth, and an intelligent script.
This movie is in a category I like to call time and place. It has a very powerful resonance with someone who is experiencing a similar dilemma. For me I originally watched it when it came out and thought the dialogue was well-paced and witty and the acting from Fonda, Roth, and Cates was superb. I recently watched the film again, because I had somewhat grown into its situation. Needless to say it was nearly poetic in a way. That western landscape and feeling of restlessness... My only major complaint was the scoring was a little tedious at times.
Bodies, Rest and Motion is an entertaining, well shot, well acted and
well written film. Yes, as the title suggests, it is "philosophical",
but it is certainly not dry or pretentious. The twists and turns used
to sneak the "philosophy" into the mouths of the characters are
fantastically clever. (Reminds me of Mamet.) However, this dialog is so
well written that it fits perfectly into the mouths of these
characters. This film can be watched two ways: as a slacker diary
similar to Dazed and Confused, Clerks or Mall Rats or as a
language-driven meditation on love, fidelity and ambition (lack
I've read reviews that call this film pretentious. I suspect that those reviewers don't appreciate that film can be linguistically creative and intellectually stimulating while still being fun. However, I feel that one of the reasons that this film was overlooked was that it was classified as a romantic comedy. Do not go into this film looking for "You've Got Mail" or "Down with Love". Also, don't go into this film looking for a hero to cheer for (though you might just find one).
Judge for yourself: Would Eric Stolz, Phoebe Cates, Tim Roth and Bridgett Fonda lend their colossal talents to pretentious garbage? If you're a writer, screenwriter or poet, then snag a copy of the script. Like Mamet's work, this script is well worth the read just to savor the writer's talent for making seemingly mundane dialog speak volumes.
This is a very under-rated and under-appreciated film!
If you have an attention span of sit-com-length, this is not your movie.
True, it's 90 minutes or so, but those moments are stretched- as they should
be. Sid's character (the sage, of sorts) wants to stretch a moment, and
that is what this movie seeks to do. For the most part, these characters
are ordinary people- and the actors play them as such. The dialogue isn't
expository, but it's real- the characters interact as any person would.
There are no huge turning points, explosions, love-struck stares, and all
the rest of the hollywood spin supposed to be "real." These are people who
could live down the street.
The best part, though, was the cinematography- the camera work is beautiful. There are just enough jump cuts to get your attention, but for the most part, the camera frames these ordinary lives without intruding on them, all while capturing the oranges, reds, and warm whites of the Arizona landscape.
While the character of the painter is supposed to be a sage- offering wise comments about identity and humanity, I was relieved when his mistakes/flaws were finally revealed at the end. All-in-all, the symbols and stress points made for a thoughtful movie.
Bodies, Rest & Motion is the type of film that you stumble onto on cable
night, you recognize some of your favorite actors in it, so you decide to
watch. I didn't get much out of this film. I have always loved Bridget
Fonda and Tim Roth is one of my favorite actors -- I feel the film gave
a lot of material to work with. Great acting -- I even found Eric Stoltz
The story is not really there -- the film is more about human interaction; goals; and love. Not a picture worth seeking out, but fans of these actors might enjoy it.
"sex, lies and videotape" doesn't really have much on this film, except for a more prurient twist. Like Steven Soderbergh's seminal indie hit, "Bodies, Rest and Motion" is an intelligent drama dealing with life as a twentysomething in middle (and middle-class) America. It's tightly written, excellently acted and doesn't sound a false note along the way, except for perhaps the mystical scene in the young redhead's house when Tim Roth goes searching for his estranged parents. But that's a small quibble. Revisit this lost gem, which showcases Eric Stoltz's best role and performance, and his real-life lover at the time, Bridget Fonda, as the put-upon Olive Garden waitress who always seems to pick the wrong guy -- this time Roth as a morally bankrupt Circuit City salesman. Phoebe Cates is just right as Roth's ex-lover turned neighbor, who forgives him everything, except perhaps his treatment of Fonda.
Despite the little attention this movie has gotten, and the varied, sporadic comments and reviews, "Bodies, Rest and Motion" is the most wonderful thing I have seen in years. The four actors (Fonda, Stoltz, Cates, and Roth) could not do better to bring to us a very subtle, touching, and elegant portrayal of loves come and gone and lives living on threads. There's no action here, and very little actually happens, but the dialogue and the attention to details are so strong, you find you don't need anything more; you can simply revel in each actors' beauty and condition. You have to watch this movie more than once, and you have to cry at times, it's that good. I'm scratching my head why this movie did not make greater acclaim. Either I'm going mental, or the world is just missing out.
I found the plot of the movie very character driven. Instead of give a plot it gave a lot of emphasis on how each character felt. No one really changed in the movie, situations just changed. I liked the style of the movie because it felt very real. The movie moved along at a steady enough pace, with a mellow tone the whole time. The ending was less than revealing and everything was left how it started, somewhat out of place.
I stumbled across this little piece of fluff on IFC television last
night. It had a cast worth checking, so in spite of IFC's unhopeful two
star rating, I settled in to watch. What an odd little film.
The actor's performances were good -- very natural in terms of their interactions and relationships. The pace was a tad slow -- while I don't think movies need fist fights and explosions to create pace, a dialog-intensive film needs to beware of ......................... long..................................pauses. Still, that is a minor criticism in my view. If that was the only flaw in the film, I could and would have given it a higher rating because for the most part the actors handled those dialogic gaps pretty well.
The worse problem with this film was its failure in my view to address the fundamental "So what?" question. I was never given any reason to care a whit about any of these characters, with the limited exception of Beth (Bridget Fonda) whom I was hoping would get the hell out of Enfield. After she left, I rooted for her not be found by the pseudo-intellectual painter, Sid. Beth had made a couple of very bad choices, with the amoral Nick (Tim Roth) and the vacuous pop-psychologist, Sid, so I was rooting for her to stick to her guns, enjoy the moments of pleasure she had with Sid, and get away before her brain turned entirely to mush. Either Nick or Sid would have destroyed her: Nick with his amoral outlook and lack of direction; Sid with his pretensions of profundity that he used to shield his fundamental lack of imagination and ambition.
Still, I didn't care a helluva lot about Beth either. She made the right decision (finally), but her escape was not a complete triumph because for all we know she fell into yet another destructive relationship with some other needy weirdo two towns over.
All of these characters, in the end, were drifting along in pointless situations. With a film so lacking in plot, brevity was important and, thankfully, present. If this movie had pushed toward the two-hour mark, it would have been an utter waste of time unless the time had been used to give the viewer a reason to care about this crew of self-indulgent dim-wits.
Like American Beauty this movie reveals the lives of many people in our
society although just a movie like the afore mentioned film it is closer
the truth than many wish to talk about...lost souls ...lost
It's funny yet depressing but with a possible positive future for the characters. The ending leaves you on a cliff looking for the answers to the mess created by the characters actions .Tim Roth is a true genius hence Lucky Numbers (excellent) and Pheobe Kates plays the part oh so well not to mention being her sexy self.
This is Drama but provides escapism though the sad and sometimes pathetic lives of others
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