A middle-aged Japanese man travels to California to attend the wedding of his American-based friend. Prior to the big event, they take one last trip to Napa Valley, where they taste wine, dally with romance.
A couple who is expecting their first child travel around the U.S. in order to find a perfect place to start their family. Along the way, they have misadventures and find fresh connections with an assortment of relatives and old friends who just might help them discover "home" on their own terms for the first time.
A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.
Paul Thomas Anderson
Philip Seymour Hoffman
Miles is a failed writer living a meager existence in San Diego as an English teacher. With his career seemingly fading and the fate of a book hinging on a publisher's decision, Miles is depressed with himself and what he hasn't achieved. Jack is a television actor whom some recognize but not many do, as if he were a minor actor who got a taste of success. With his best friend Miles, the two embark on a road trip through California's wine country. Miles wants to give his friend a nice sendoff before married life, while Jack simply wants to have a fling beforehand. As they're both nearing middle age with not much to show for it, the two will explore the vineyards while ultimately searching for their identities. Written by
When Miles hits the ball back at the golfers behind them, the person who actually hit the ball was the author of the novel the film was based on. He claims that Paul Giamatti's exceptionally poor golf form made it impossible for him to accomplish the shot. See more »
When the two guys first meet Stephanie, in one shot, we see her in the process of half-filling Miles' wine glass. It then cuts to a continuing shot from behind, but his glass is only quarter full as she continues to pour See more »
'Sideways' might be this year's acid test of whether you like good movies or not. It will be exciting over the next few weeks to see if the justifiably positive buzz surrounding this film and a good audience turnout (in San Francisco it was well attended, at least) will entice viewers. Without a teen audience it cannot be real blockbuster, but 'My Big Fat Greek Wedding' drew out the 50-somethings and it wasn't even a very good movie!
The premise: two friends (Paul Giamatti as Miles, Thomas Haden Church as Jack) set off on a road-trip before Jack's wedding a week hence. Miles, a teacher with aspirations of publishing a novel and Jack, a veteran actor (but not exactly prospering) are resolved well, Jack is anyway to have some fun as they sample wine and play golf while heading up the California coast.
What ensues is that Jack, committed at a bachelor-party level ( Miles is still reeling from his divorce two years previous) has to prod his less-than-enthusiastic accomplice to lighten up. Meeting a likely pair of attractive female matches, things get more complex. What comes of Jack's misadventures and Miles' reluctant accompaniment is not only borderline hysterical but painfully closer to our own experience than might be comfortable.
Director Alexander Payne (he of the fabulous'Election') has really assembled all the necessities here. A great cast working with solid material rarely misses; here is proof. Paul Giamatti showing us his everyman acting chops in last year's 'American Splendor', is our James Gandolfino for 2004. Thomas Haden Church (his resume sports a long string of small screen and TV parts) is such a scene stealer that it will be a film-crime if we don't see him in some lead role in the near future.
The girls. Virginia Madsen (Miles' love interest Maya) and Sandra Oh (as Jack's fling thing Stephanie) turn in striking performances, with Ms. Oh showing us charming and vicious in equal measure; but in particular she epitomizes the date every man always wanted to have, showing an intangible sexuality not easily conveyed in film.
In an interview (http://www.darkhorizons.com/news04/sideways3.php) with Director Alexander Payne we hear an interesting comment about how typical 'art-house' fare might shake the industry:
'I want Sideways which has no movie stars in it, and a movie for which I had final cut, to make money, not just for my own career but for other film makers so that film makers and studios can point, if I didn't have stars to make money, Sideways didn't have a gun or a chase even though that made money, we have to be changing our cinema, little by little and have more human films. But the only way it's going to happen is there are examples they can point to, where they made money. It was just like that in the late 60's and 70's. Look, Easy Rider made money, The Graduate made money, Midnight Cowboy made money, and we should make more movies like those. That's what we need.'
It is indeed.
Rating: Four Stars.
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