Young Augusten Burroughs absorbs experiences that could make for a shocking memoir: the son of an alcoholic father and an unstable mother, he's handed off to his mother's therapist, Dr. Finch, and spends his adolescent years as a member of Finch's bizarre extended family.
Martin Freeman plays Chris, a frustrated TV producer who is forced to leave his unreliable flatmate Bob played by Velibor Topic in charge of showing a series of real estate agents around ... See full summary »
Former British pop star Gary Shaller is at a crossroads in his life: his job in New York City is going nowhere, his American wife, Dora, drives him crazy, and he passed his thirtieth birthday four years ago. Add to that his best friend Paul seems to become more successful every time he breathes. Gary is feeling depressed and dejected... until he meets Anna. She's glamorous and smart; she's seductive and witty. Best of all, she's crazy about Gary. Anna is the girl of Gary's dreams...literally. And that's the problem. Gary can only see Anna in his dream life, so he's got to find a way to carry on the most satisfying relationship of his life, in his dreams. His quest for lucid dreaming techniques introduces Gary to some crazy characters who ultimately give him a new perspective on life. Written by
[Paul and Gary are hiding in Terry's apartment]
I know you're here, Paul. The doorman told me you just came in. Come out and I won't be mad.
[sits up on the couch]
Did you or did you not fuck a lumberjack by the name of Randy?
That's none of your business.
Is that a yes?
I'm not answering that.
Oh, for fuck's -- well, all right, well -- What, does he go to the gym alll the time, does he?
[picks up a vase of flowers]
[smashes the vase]
I'm gonna rape you!
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Making a movie about dreams or dreaming is tough, and it shows in this one. The difficulty with dreams in any bit of fiction is that they can't be held accountable; that is, by definition, there isn't any kind of direct correspondence between dream occurrences and narrative significance. A dream (singular) here and there can enrich a narrative with symbolism, causality, subconscious, but when the dream becomes plural then almost universally a story starts to break down. Having gritted my teeth through movies like Waking Life and The Cell, to name a few, I've come to associate "dream" with "lazy" in cinema.
That being said, I had to see what Simon Pegg and Martin Freeman would do in a movie together. And the bottom line is, due to these two guys, the movie is worth a watch. Don't may more than $4 to see it.
What you get really is a movie without consequences. You have Martin Freeman obsessed with a dream character. OK, kind of interesting, but there's not enough dimension to his girlfriend (Paltrow), who just seems like a nag, or his friend/former bandmate (Pegg), who, granted, is extremely funny but ultimately without Pathos, to really make his dream obsession a truly engrossing psychological/sociological study.
And again, what happens here is that the dream sequences, and even the obsession with them, because of the, by definition, incommensurable quality of dreams, their inability to be authentically expressed through proxy (language, film, journals, etc.), leave us as audience members bereft of any feeling of causality, arc, or direction.
Also, as a sidenote, the pseudo-documentary format that the film opens with and halfheartedly maintains is confusing and ultimately misdirecting. It ends up looking like the mistake of a novice director.
Martin Freeman performs his lines well, Pegg is funny, DeVito is a pleasing eccentric, and Paltrow isn't as annoying as she usually is (however Cruz is somewhat intolerable), so the movie is worth seeing once, if you've got nothing better to do.
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