Zhou Yu, a ceramic decorative artist, travels twice a week from her home town of San Ming to Chongyang to visit her boyfriend, Chen Qing, a government worker and budding poet. The two met ... See full summary »
Victor is a cook who works in a greasy bar/restaurant owned by his mother, Dolly. It's just the two of them, a waitress named Delores, and a heavy drinking regular, Leo. But things change when Callie, a beautiful college drop-out, shows up as a new waitress and steals Victor's heart. But Victor is too shy to do anything about it, and too self-consciously overweight to dream of winning Callie away from her demanding boyfriend, Jeff. Victor's terrible loneliness overwhelms him when he has to face losing what he loves the most. Written by
Martin Lewison <email@example.com>
Victor is walking across a bridge toward the camera with a bag of groceries in one arm and just before he stops to look over the side, a fuzzy mike cover can be seen briefly in the bottom left corner of the shot. See more »
Grey Man in Hospital:
You're as big as an ox and no one sees you. I am the same way, I am loud and no one hears me, but when I whisper everyone looks around like something happened.
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He's a man so shy, he doesn't even think he deserves love...
Solemn, but terrific mood piece about a shy, chubby cook in a rivertown restaurant who fantasizes about getting to know the new waitress who just hired on, a perky young thing with long brunette hair and a big charming smile. Graceful film never goes the commercial route, neither injecting shady characters into the mix nor throwing in blatant jokes to give the film comedic uplift. The picture is all on one level, which may drive some viewers batty with impatience, but I found the whole thing quietly invigorating. The lead character, Victor (Pruitt Taylor Vince), daydreams, watches airplanes, has secret hopes; he's a loner, and the filmmakers are careful not to flood the screen with potential conquests. There's Debbie Harry as a loose waitress with weary eyes and Liv Tyler, the new hire, who brings fantasy into Victor's life, but, as with all fantasies, the advent of reality diffuses the passionate tension. Everyone is sad in this film, and I imagine some audiences won't get with it, but I admire director James Mangold for putting this story on film so eloquently. It's a new "Marty". *** from ****
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