Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Jennifer Jason Leigh,
A story that follows as a New York woman (who doesn't really have an apartment) apprentices for a dance company (though she's not really a dancer) and throws herself headlong into her dreams, even as their possibility dwindles.
After college graduation, Grover's girlfriend Jane tells him she's moving to Prague to study writing. Grover declines to accompany her, deciding instead to move in with several friends, all... See full summary »
Lester is an occasional substitute teacher and he's very jealous. He is jealous about the last boyfriend of Lester's slightly wacky current partner Ramona - arrogant best-selling author ... See full summary »
We like Florence: she's considerate, sweet, pretty, and terrific with kids and dogs. She's twenty-five, personal assistant to an L.A. family that's off on vacation. Her boss's brother comes in from New York City, fresh from a stay at an asylum, to take care of the house. He's Roger, a forty-year-old carpenter, gone from L.A. for fifteen years. He arrives, doesn't drive, and needs Florence's help, especially with the family's dog. He's also connecting with former band-mates - two men and one woman with whom he has a history. He over-analyzes, has a short fuse, and doesn't laugh at himself easily. As he navigates past and present, he's his own saboteur. And what of Florence? is Roger one more responsibility for her or something else? Written by
A poster of the band Prinzhorn Dance School can be seen on the wall where Greenberg hangs the drawing made by Florence' niece. It's a reference to LCD Soundsystem's James Murphy, who was responsible for the soundtrack. Murphy is the boss of the DFA record label, who released the 'Prinzhorn Dance School' album. See more »
During the "teenage party", Greenberg decides to change the music on the CD player and inserts "Rio" by Duran Duran. He only presses three times the "next song" button and should therefore reach the song #4 ("Hungry Like The Wolf"). Instead, it is "The Chauffeur" (song #9 on the CD) that can be heard, to everybody's dismay. See more »
It Never Rains In Southern California
Written by Albert Hammond and Mike Hazlewood
Performed by Albert Hammond
Courtesy of Columbia Records and The Columbia/Epic Label Group, a unit of Sony Music Entertainment
By Arrangement with Sony Music Licensing See more »
I was under the impression that this would be another wacky Ben Stiller comedy. When I started watching it and learned that Noah Baumbach (who had previously made the excellent 'Margot at the Wedding') was the director, I knew this was going to be a different kind of movie that would probably reveal a different side of Ben Stiller's acting. Many have described this to be for Stiller what 'Punch Drunk Love' was for Adam Sandler and 'Stranger Than Fiction' was for Will Ferrell.
Baumbach's 'Greenberg' is a character driven piece that centres on Roger Greenberg (Ben Stiller), who recently left a mental asylum and is back in town to housesit for his brother who's away on holiday. He falls for his brother's assistant and tries to pick up the pieces of a life he had once left behind while going through a midlife crisis.
Like he did with 'Margot at the Wedding', Baumbach's execution is lowkey and his narration mostly relies on the interactions between the characters and the protagonist's quiet moments when he/she is alone. The art direction is suitably minimal and the camera-work is solid. The dry humour is very effective and consistent with the atmosphere Baumbach creates.
Ben Stiller does a remarkable job with an effortless performance. This is definitely a departure from what he's familiar with and he proves that he can deliver a restrained performance when required. Rhys Ifans is equally good. Jennifer Jason Leigh (who also co-wrote the screenplay) provides fine support on both counts. Greta Gerwig is competent.
Baumbach has done it again, successfully telling a complex story that appears to be much more than what shows on the surface.
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