Andrew Largeman is a semi-successful television actor who plays an intellectually disabled quarterback. His somewhat controlling and psychiatrist father has led Andrew ("Large") to believe that his mother's wheelchair-bound life was his fault. Andrew decides to lay off the drugs that his father and his doctor made him believe that he needed, and began to see life for what it is. He began to feel the pain he had longed for, and began to have a genuine relationship with a girl who had some problems of her own.Written by
While filming the funeral scenes, most of the extras were Orthodox Jews, and prevented the crew from shooting on Shabbat, and craft service was forbidden from serving any non-Kosher food on the property lines. See more »
At the end, when Andrew and Sam are sitting on the stairwell in between the two escalators, both are moving in the establishing shot, but the right one is stopped in the close-up shot, and then it's moving again when we see just Andrew. See more »
Los Angeles Tower, this is Transworld 22 Heavy. We are going down! Repeat, engines two and... L.A. Tower, this is... Mayday! Mayday!
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Special thanks to Anfang Family, Snyder Family, Randazzo Family, Definis Family, Trojan Family, Weiss Family. See more »
An Unpolished Movie With Blatant First-Timer Mistakes
Perhaps the most notable and visible issue with this film is the narrative structure. The writing is done in a sort of encounter-to-encounter style, like a layman's Odyssey. I feel though that this is not a result of a specific film styling but rather poor writing on the part of Zach Braff, who, mind you, is not the Epstein brothers (of Casablanca fame) but rather a TV actor who is breaking into the big screen for the first time. As a result, plot weaving becomes non-existent, and character development, even in the case of Large (the main character) is shallow and doesn't really show much change, or rather, the script doesn't provide an opportunity for change. When he then has an epiphany at the end of the film, a terribly contrived moment, he praddles off everything that he already knew as if it were terribly profound, and the moment entirely misses.
Also, characters, specifically Large, seem to go off on philosophical tangents which are neither profound nor insightful, but seem to be what he really wants the audience to derive from his movie. In this classic case of "Telling" instead of "showing," I personally was annoyed as I felt that as an intelligent viewer I didn't need to be spoon-fed these ideas but rather, as in any well-written movie or literary piece, could have derived them from the work itself without them being thrown into my face.
Please keep in mind that this was something of a Devil's advocate opinion as I did enjoy parts of the film, and certainly recommend it above most of the other films in theaters now.
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