A couple checks into a suite in Las Vegas. In flashbacks we see that he's a computer whiz on the verge of becoming a dot.com millionaire, she's a lap dancer at a club. He's depressed, ... See full summary »
Based on the true childhood experiences of Noah Baumbach and his brother, The Squid and the Whale tells the touching story of two young boys dealing with their parents' divorce in Brooklyn in the 1980s.
Based on Larry Brown's haunting short story, Kubuku Rides (This Is It) affords the audience an unblinking view of a household steeped in secrets and desperation. We experience Angel's ... See full summary »
A man with a clipboard asks passersby a survey question: "Are you the favorite person of anybody?" He has a scale, from "very certain" on down. His manner is open. He offers oranges to one ... See full summary »
'Me and You and Everyone We Know' is a poetic and penetrating observation of how people struggle to connect with one another in an isolating and contemporary world. Christine Jesperson is a lonely artist and "Eldercab" driver who uses her fantastical artistic visions to draw her aspirations and objects of desire closer to her. Richard Swersey, a newly single shoe salesman and father of two boys, is prepared for amazing things to happen. But when he meets the captivating Christine, he panics. Life is not so oblique for Richard's six-year-old Robby, who is having a risqué Internet romance with a stranger, and his fourteen-year-old brother Peter who becomes the guinea pig for neighborhood girls -- practicing for their future of romance and marriage. Written by
Sujit R. Varma
Characters refer to "Laurelhurst" (misspelled on the computer screen as "Laurelhearst") and "Burnside". Both are notable areas in Portland, Oregon, where writer/director Miranda July used to live. Christine also receives a cellphone call identified as "M & F Dept Store" which probably stands for "Meier & Frank." See more »
While Peter and Robby are singing the hymn to Richard, they walk past the same white picket fence three times. See more »
The main reason that films can grab us and last is not because of characters or situations, or story. Yes, those are the things we see and grab, but if the film doesn't spin an engaging world, there'll be nothing worth grabbing.
Now here's a case where the world this filmmaker creates is so wonderful, we want to grab everything. Its incoherent, a set of vignettes, but all coherently placed to circumnavigate this wonderful set of dynamics.
Its a world where bad things exist but don't cut deeply. Where innocence penetrates reality. Where fate applies but is seen. Where art exists but only as pretense for life. Where communication always has a sparkle of wonder. Where age is irrelevant and hope is always privately platformed without dependence.
A dear friend brought me to "I've Heard the Mermaids Singing." This is a dear friend and I sincerely tried to dissolve myself in the world of the thing. But the cracks didn't line up, and my being and that world couldn't interpenetrate. It think it is purely a matter of skill, in knowing how to discard the things that get in the way. This does, this film here.
The woman behind this film is admirable. By that I mean she is to be admired for knowing enough about us to find the things that disturbingly endear. And I admire her for finding a place for herself in how this is presented to us. Its all so perfect that we have to assume that there is a deep selfawareness in her, as deep as her intuitions are.
I hope to see more of her. I think we can trust her with large bits of ourselves.
Ted's Evaluation -- 3 of 3: Worth watching.
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