From a glance I thought this was an B-movie with Natalie Portman and Sean Astin, so my expectations were off! What I got was a heated, over-complicated, soap-opera with supurb characterisation and great acting - Clive Owen as a manipulative brutally honest Doctor was intense and fun to watch. Great storytelling, but by the end I had no sympathy for either love triangles and the issues of trust were getting boring.
Thought-provoking exploration of romantic cowardice and dishonesty. Shame that the male gaze and perspective dominate the film so much. It starts as an interesting exploration of deceit and temptation, but ends up as a pseudo-virile competition where women are objects of male desire, revenge, and even violence. Or is it a particularly dark view on men in love?
Blown away by how strikingly real and brutally honest this entre film is. God, Natalie Portman is fantastic here - as is Jude Law - what fascinating, intriguing depth of character Nichols manages to bring out. Love and the human quest for love in all of its beauty and horror. Unparalleled.
Firstly - a very restrained piece of American film-making about my home city! Thank you for avoiding obvious establishing shots, cockneys etc! Secondly - a ripping screenplay. However the direction falters during the more stagy moments within it. This unfairly and avoidably leads to the actors appearing to wobble during their long dialogue set pieces (not Law, who has truly mastered the punchable love-rat archetype)
The execution is rather basic, nothing too flashy here, and everything is really carried through by the words and performances but that's just fine. It may feel a little bit stagy at times but material this good doesn't need to be dressed in shiny togs and bling trimmings. It's a quality movie and should be enjoyed by those who don't need an entire bag of cinematic tricks to flesh out a wordy, worthy script.
"You ever seen a human heart?! It looks like a fist wrapped in blood!" Critics hemmed and hawed over the translation from stage to screen, but performances this brave and devastating are merit enough, I think. The exacting cruelty (and honesty) of Marber's dialogue is also without peer, across mediums.
Story right out of Woody Allen's sketchbook, followed by a mediocre script avoiding as much characterizations as possible to seem more in depth. As Jude Law takes a sudden and inexplicable turn from perverse manipulator to crying pansy, Portman acts as insecure as her character, and Roberts not being paid enough for more than casual one-liners, Clive Owen is the only engaging, Freudian character, to be related with.
a good-looking cast who peppers us with smart observant dialogue and thoughts. The sex chat sequence is a stand-out funny moment. I have no problem seeing Natalie Portman in underwear, but she is a little miscast as a street stripper, especially fun is the scene where she do a personal lap dance for Clive Owen without ever taking off a single shred of clothing - now that is classy but not very believable.
To this day, Closer remains one of my all time favorite films. The way it portrays love, sex, lust, betrayal, insecurity, essentially everything that makes the world go round, is wonderfully rooted in reality. Love can be simple and absolutely magical but also complex and excruciatingly painful. Masterful direction, unforgettable dialogue, great performances and a mesmerizing song by Damien Rice.
CLOSER is one of the unusual romance movie I've ever seen. I'm not sure whether it's a romance. I guess a "love story" would be proper. I think CLOSER try to explain that love's a very complicated thing and what's the definition of love itself. All four main actors/actresses did an amazing job. But Natalie Portman's character succeed to steal my attention. Her characterization is really complex. Good job Mr. Nichols!