When his job along with that of his co-worker are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.
Everybody knows that your life is a story. But what if a story was your life? Harold Crick is your average IRS agent: monotonous, boring, and repetitive. But one day this all changes when Harold begins to hear an author inside his head narrating his life. The narrator it is extraordinarily accurate, and Harold recognizes the voice as an esteemed author he saw on TV. But when the narration reveals that he is going to die, Harold must find the author of the story, and ultimately his life, to convince her to change the ending of the story before it is too late. Written by
When Harold is asked the product of 67 and 453, he actually gives the correct answer, 30351, the first time. His second answer of 31305 is incorrect. See more »
Harold tells Ana that she can deduct the bread she gives away to the homeless as charitable contributions on her tax return, which is not true. In order to qualify as a charitable contribution, the property (in this case, the bread) must be given to a qualified charitable organization and be properly documented. Simply giving away food to the homeless is not enough, as there would be no way to prove that she actually gave the bread away. See more »
[sitting on bench under an umbrella]
May I ask what we're doing out here?
[sitting next to Penny without an umbrella]
We're imagining car wrecks.
I see. And we can't imagine car wrecks inside?
No. Did you know that 41 percent of accidents occur in times of inclement weather?
So do 90 percent of pneumonia cases.
Really? Pneumonia. That's an interesting way to die. But how would Harold catch pneumonia?
Have you written anything new today?
Did you read the poems I suggested, or make a list of ...
[...] See more »
During the end credits, the names of the characters and the actors who played them were displayed against stylized images of the places where the characters worked. See more »
With his unassuming eyes and sheepish, "awe shucks!" demeanor, Will Ferrell is quite simply the guy you root forthe eternal boy trapped in a gangly 6'3" frame. Just a single look can make you giggle and smile so effortlessly that you're often unaware that you're actually doing it. It is with this notion that Stranger than FictionFerrell's first major foray into a theatrical world outside the realm of in-your-face frat boy sillinessjust makes sense. By surrounding Ferrell's charisma with a subdued, darkly comic script and a talented supporting cast, we get a film that is both fresh and heartfelt.
Directed by Marc Forster and penned by Zach Helm, Stranger than Fiction is an odd mix-mash, combining a standard comedy with existentialist ideas. Number crunching IRS agent and genuine loser, Harold Crick (Ferrell) one day wakes up to find his life being narrated word for word by burnt out writer Karen Eiffel (Emma Thompson). Odd thing is, Eiffel is writing an actual book where Crick just happens to be the main character. To make matters worse, she plans on killing him off as soon as she can make it through a particularly arduous stretch of writer's block.
Originality is one thing that is absent from a majority of contemporary Hollywood pictures, so Fiction immediately gets points for simply trying something different. I suppose it's icing on the cake that the film is genuinely good. Crick, knowing that is death is imminent, begins to break out of his cloistered shell and to experience the fruits of his life. And, in the process he forms a bond with a tax breaking baker (Gyllenhal) and seeks advice from a literature professor, played by a particularly charming Dustin Hoffman
However, even though it is well intentioned, the execution isn't flawless. The romance that develops between Gyllenhal's outcast baker and Ferrell's strait-laced Crick doesn't feel entirely organic. We admire the relationship and smile at its sugar coated sweetness, but we don't necessarily believe their connection. It may taste good, but it doesn't exactly wash down smoothly. Neither, does the film's over reliance on reinforcing generic, "Carpe Diem" philosophies. Towards the second act, things do get sappy. Luckily, by the conclusion, the plot has bounced back to a wonderful limbo of both oddly comic and genuinely heartwarming moments.
For all its flaws, Stranger than Fiction, works. Like a good novel, Forster has fashioned something that is strange, stylistic, and unexpectedly inspiring. And, despite the chinks in its existentialist armor, that's surely something worth writing home about.
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