paul giamatti truly portrays the essence of a hopeless romantic, a fighter for love. Barney's your average Joe, trying to make an enterprise of his own, but he's dead inside. His existence is only complete with the presence of Miriam. How could he let his existence to be defined by his other half? i guess that's what happen when you dont have a life of your own, your own work of art.
The tale of the very flawed, very human Barney Panofsky and the very flawed, very human people in his life. Barney undervalues himself and everything he does and seems perpetually afraid of being caught living a life he doesn't seem to feel he earned or deserves. As a result of his fear he breaks what he most values in his life. Astonishingly credible characters mostly doing the best they can in their lives.
It's all over the place but what life story isn't? Paul Giamatti is in top form and Rosamund Pike - seriously what does the woman have to do to get some awards attention - splendid as one of his put upon wives. The entire cast is good and despite an unnecessary ending the film leaves a contented feeling at its conclusion. Good without being great.
Paul Giamatti gives this movie his all, an epic story of a shambles of a character, reminiscent of Heaven's Gate in scope, pacing, tenacious life lessons widdled to a fine point. Lewis (t.v.) keeps it moving, albeit plodding at times. Minnie Driver should divorce her usual portraiture more often. Watch this one with a beer or cocktail and an afternoon to kill. At the end of all the death and taxes, script prevails.
giamatti has the only developed character in the whole film>everyones are unispired paper thin caricatures>dustin hoffman is so good he can work miracles even when given so little>dramatic climax is achieved by exploitatively mixing marital separation with illness and decay>pretty low trick for such talented crew> possibly even too bland for an oscar grab
Not a comedy. I repeat, NOT A COMEDY. That's not to say it's not funny - au contraire - but it's closer to James L. Brooks than Mel Brooks, for sure. This one's just OK. Big shout-outs to Dustin Hoffman, Rosamund Pike and Scott Speedman (who used to be a poor man's Matthew Fox and is now a poor man's Bradley Cooper). The good - left-field goofy lines and awesome old age make-up. The bad - semi-nude Giamatti. Again.