Reviews written by registered user
|221 reviews in total|
I was really looking forward to this film, mainly because I really
liked director Holofcener's previous efforts, Walking & Talking &
Please Give. However this to me came off as a trite, predictable sitcom
episode guest-starring Dreyfus & Gandalfino doing their usual shticks.
Particularly irritating are Dreyfus's constant mugging & over-acting to every situation in every scene in order,I guess, to please to her fams. Gandolfino mostly shrugs his way through his part, looking bored & maybe even a little embarrassed & never upstaging his co- star but never being very funny, either.
This is like a contemporary vesion of those awful Bob Hope comedies they cranked out in the 60s & 70s when the star was far too old for his parts but his routines were still bankable with an ever-gullible public.
Still hard to believe this film received an Academy Award for best
script. It looks more to have been written by 4 very green high school
students inexperienced in life or the art of writing. They seem to have
spent a lot of their time sitting around calling up favorite movie
tropes & clichés. These somehow got misinterpreted as Magic Realism by
a gullible press assisted along no doubt by a prominent product
placement of Borges' Labyrinth in Ed Norton's hand in one of many stagy
Also in evidence as teenage over-enthusiasm is an excessive amount of misogyny. The women in this film come off as conniving, manipulative, neurotic & self-obsessed in the extreme with Emma Stone as the new Martha Plimpton. I wonder if Lindsay Duncan was aware before signing on of the grotesquely abusive & wholly gratuitous verbal intro her character received in the bar scene. The male characters fare somewhat better only because their humiliation comes in having to appear semi-nude, easily laughed off in macho culture.
Actually I think what Inarittu & his band have pulled off is to deliberately make a shallow pretentious pseudo-Indy film satirizing their counterparts of the north to which a major part of Jollywood elite have bought in whole hog.
Flat, stagy, overacted & underwritten, this thing plays out for the
most part as a junior high school attempt at imitating Guy Ritchie. I
mostly agree with the reviewer who said he expected Guy Ritchie & got
Will Ferrell, except that Will Ferrell does manage to be funny which I
don't think Jude Law succeeds at at all. There was really no plot to
speak of, just a very tired & very old cliché about some stolen money
but the whole sequence of events unrolls so choppily & the Dom
Hemingway character is so overwrought & unsympathetic, you wind up
rooting for the wrong people (or no one - just for the bloody film to
Nothing redeeming in this thing. Saw it all better in Sexy Beast & that was no great shakes either but at least Kingsley can be truly menacing, not just pathetic like an overweight Jude Law.
This film starts out with a lot of promise: the first fantasy sequence
on the subway platform, tied in with the eHarmony bit (this movie sure
has a lot of blatant product placements) was great, as were Stiller &
Wiig's initial performances. But then the hammer falls with the
overcooked overacted cliché scenes of office down-sizing, followed by
some vague ill-defined vision quest after the nebulous Sean Penn
character (a heroic photographer?) mixed in with nonsense about
skateboarding (pandering to a very specific demographic I guess) & some
kind of non-ending.
Biggest problem was the film-makers lost focus early on vis-a-vis what was fantasy & what was reality which is what The Secret Life of Walter Mitty is really about.
This made me think of a Tom Hanks & Meg Ryan movie that had the same theme but was a thousand times better: Joe versus the Volcano.
Let me say right off I'm a huge fan of dystopian sci-fi films,
especially Blade Runner & Brazil & Code 46. In addition, Host & Mother,
directed previously by Joon Bong-Ho, are two of my favorite films of
recent years. I was really looking forward seeing this movie, even
going so far as to paying full price for the Amazon Prime Instant
That said, how to start cataloging the letdowns. First, the story, which is as linear as the train it takes place on. Some people claim the movie is a parable which I'd be more than ready to embrace if it were even remotely true, but in truth the story line is a simplistic, almost juvenile treatise on the evils of the powerful vs. the weak, predicable as to both plot & characters. None of the characters really stand out as much more than 2-dimensional cartoon characters, which might have worked if the film were animated, but the acting, especially among English- speaking ones, is stilted & forced. After viewing Host (2 of whose leads appear in this, again as father & daughter) & Mother, as well as other Asian films, I've pretty much concluded that English-speaking actors, particularly American ones, do not fare well in over-the-top films like this, apparently being unable to convey the powerful facial expressions of their emotionally less-restrained Asian counterparts & compensating with overly theatrical readings of their lines. John Hurt is the exception: he's lucky to have that finely engraved face, but drones on wearily as he has in most films since Alien. Tilda Swinton is funny but looks & acts like she's in a totally different movie, maybe Monty Python knockoff.
One major character named Gilliam & several vaguely retro futuristic sets suggest this is a minor homage to Terry Gilliam's Brazil. But in that case maybe it should have been called Bengladesh.
Lots has been written about Leftovers' creator Lindelof worrying that
his work would always be compared to the awful ending episodes of Lost.
Well, this show's already far worse than the last episodes of Lost. For
starters, the whole concept is very tired & has been done far better,
as already mentioned in these comments (The 4400 for starters).
Nevertheless the idea might have worked if it were handled with some
originality, but that's the whole problem: it's not, it's just a
collection of old S-F tropes (disappearing people, crazy cult, feral
pets, ordinary citizens under severe duress) w/o substance.
The acting isn't bad, given what the actors have to work with, but the plot is overly choppy & predictable. It's as though this mess came out of the same kitchen as Under The Dome.
Spike Jonze/Adam Spiegel sets up easy-to-knock-down situations, taking
pot shots at generic targets which have no bulls-eyes at their center,
just great big easy-to-hit circles. Yes, it's true people are having
others write their intimate missives - so what, they were doing it in
the 19th century - what's new? Yes, people seem to spend more time
talking into machines than with each other. Wasn't that the complaint
about A.G. Bell's new contraption? Isn't that "other people" they're
talking to on the other end?
In the end SJ/AS is a techno-sentamentalist, decrying the medium because he can't find the message. This is a paean for the generation that looooooves to Kvetch. Any 3 minutes of Silicon Valley is orders of magnitude superior to this uninspired pulp.
To live a life w/o hope or humor, creativity or imagination is deeply disturbing, but to depict such a life in a film which is itself (deliberately or not) devoid of hope, humor, creativity or imagination is inexcusable. And to applaud such a work as worthy of esteem & major awards is to pander to the worst aspects of our Hollywood-spawned culture's self-referential obsession.
I mean the show, not the so-called story. I haven't seen the original
Brit version of this series so I can't compare the 2 but just knowing
the original was far shorter puts me in favor of that one.
I can't think of any aspect of this LWS worth praising except the cinematography and how could you go wrong with ruined Detroit? But the casting was atrocious & the acting (where there was any) consequently all over the map. The white hoods looked like college students, the black hoods looked like central casting.
Mark Strong seemed to be so wrapped up in holding in his Brit inflections that everything else got withheld as well. I found myself longing for some Victor Mature or Robert Mitchum grimacing & hamming. Those guys could have played Agnew in their sleep. Lennie James, OTOH, seemed to be auditioning for a modern version of The Tempest. Interesting but distracting.
What else? The plot was choppy & predictable & highly dissatisfying. Odd that AMC should have run this after Breaking Bad. Maybe they should have called it Breaking Worse.
First off, everyone picked up on the Silence of the Lambs knockoff in
the relationship between Red & Keen, so that's a pretty pathetic start.
Then our introduction to the star, FBI agent Keen popping out of bed
displaying her lovely buns barely clad in a bikini (very lovely but
really threw off the tension & rhythm - what little there was - built
up so far).
Then the "plot" took off like a BOOH. Lots of choppy editing, screaming Feds, blood blood & more blood. But no logic or common sense. Games about what side Spader's character is on but not enough substance or character development for anything to make much sense or to care about. To say nothing of the cartoon acting.
Spader does reptilian very well & I'm glad he's working but for the sake of his sanity & his soul I think the man should hie himself to the UK where they appreciate talent like his & find himself a decent series.
One measly star.
I remember this series both on radio & TV as very superior fare full of
existentialist romantic atmosphere. Morton Fine & David Friedkin were
responsible for a lot of excellent radio programs including Broadway is
My Beat (with lieutenant Danny Clover) & I Spy. Other shows the 2
created or worked on on TV included The Pawnbroker (which won the
Writers Guild of America Award for Best Written American Drama in
1965), The Nativity, The Greek Tycoon, I Spy, The Next Man, The Most
Deadly Game,& several television Westerns including The Rifleman, The
Big Valley, Maverick.
A friend in the business once told me many years ago that Bold Venture scripts were all written in blank verse. I don't know if he was pulling my leg but they sure sounded that way.
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