On a flight from Los Angeles to New York, Oliver and Emily make a connection, only to decide that they are poorly suited to be together. Over the next seven years, however, they are ... See full summary »
A British investment broker inherits his uncle's chateau and vineyard in Provence, where he spent much of his childhood. He discovers a new laid-back lifestyle as he tries to renovate the estate to be sold.
After causing a loss of almost one billion dollars in his company, the shoe designer Drew Baylor decides to commit suicide. However, in the exact moment of his act of despair, he receives a phone call from his sister telling him that his beloved father had just died in Elizabethtown, and he should bring him back since his mother had problem with the relatives of his father. He travels in an empty red eye flight and meets the attendant Claire Colburn, who changes his view and perspective of life. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The Claire Colburn character in this movie (played by Kirsten Dunst) was the reason for "The A.V. Club" columnist Nathan Rabin's coinage of the term "The Manic Pixie Dream Girl," which later entered into common usage in movie writing. Rabin's definition of the term, which first appeared in a 2007 article titled "My Year Of Flops/The Bataan Death March of Whimsy Case File #1: Elizabethtown," was: "The Manic Pixie Dream Girl exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures. The Manic Pixie Dream Girl is an all-or-nothing-proposition. Audiences either want to marry her instantly (despite The Manic Pixie Dream Girl being, you know, a fictional character) or they want to commit grievous bodily harm against them and their immediate family. As for me, well, let's just say I'm not going to propose to Dunst's psychotically chipper waitress in the sky any time soon...(see Natalie Portman in Garden State for another prime example)." See more »
When Claire and Drew are in the ballroom, Claire is holding a champagne glass. When she steps up onto the platform area of the main table, she sets it down. Drew lifts her off and puts her down, and she doesn't have it, but in the next shot she is holding it again. See more »
[receiving returning good]
Welcome back, boys.
As somebody once said, there's a difference between a failure and a fiasco. A failure is simply the non-present of success. Any fool can accomplish failure. But a fiasco, a fiasco is a disaster of mythic proportions. A fiasco is a folktale told to others, that makes other people feel more... alive. Because it didn't happen to them.
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This film opens with the 1954 "VistaVision" Paramount Pictures logo - instead of the new 'live-action' one. This logo was used at the head of all Paramount films released from the mid-1950s through to 1986. See more »
I went into this movie hopeful but not expecting too much, given the poor reviews I had seen for it. I walked out impressed and touched, surprised by how much I really enjoyed it, and wondering if other people would give it a chance and enjoy it, as well. Time will tell.
The things that I liked about this movie are easy to feel but not so easy to describe. There were moments that really got to me, bits of scenes that touched me and caught in my memory, and time and again I found myself nodding and smiling and thinking, "I know exactly how he feels," or "I remember that feeling." Somehow, this story was good in a different way than Garden State was good. I loved Garden State, and the plot of Elizabethtown is enough like Garden State that it was hard not to have it in mind when I sat down in the theatre, but the two movies are really quite different. Crowe's Elizabethtown felt more real than Braf's Garden State, and somewhat less contrived.
Elizabethtown is the kind of movie you should see on a sunny autumn afternoon after a walk with an old friend. It has a joy to it, a basic sense of optimism and a light touch, so that it never crossed the line from sadness into tragedy and melodrama. Crowe doesn't let us fall into sentiment, but he deftly weaves a story that could have been corny and sentimental in lesser hands. I read critics who said he let the music play the emotions for us, but I can't agree, because I think that the cast did an excellent job portraying people I could really feel for and with, especially Orlando Bloom.
Orlando Bloom's Drew Baylor is introduced in a moment of pain and panic, utterly emotionally blocked, repeating "I'm fine" while feeling suicidal and saying "My condolences" to strangers and distant relatives as if the loss of his father belongs to them and not to him. In the film, he relaxes and grows emotionally under the tutelage of Kirsten Dunst's Claire, and together they work their way through the American heartland into a tender relationship and a new perspective on the meaning and value of life and success. His American accent and her Southern drawl might both be a little off at times, but it was easy to forgive in the interest of watching what happened next.
From the side stories of the secondary characters (Susan Sarandon is delightful, as always, in a turn as a widow whose reaction to her husband's death is to reach out and grab life with both hands) to the road trip into Americana, all the quirky little moments that felt real and sincere made this movie one that I enjoyed watching and will think about and remember. I hope you enjoy it, too!
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