This time, Jake Johnson and Rosemarie DeWitt's charisma couldn't save a film from tasting bland. The intention is nice and the couple going separated ways on a weekend reveals a little of both, but nothing memorable or deep enough. Although I enjoy Swamberg's work a lot - this is just a regular film with a great cast.
One of Swanberg's most refined films. Obviously, his type of cinema wouldn't work if it was too focused or disciplined. Reminds me a little of an old Hong Sang-Soo or even a Suwa. The ending worked beautifully - poetic without being too sentimental. Like all of Swanberg's good films, I'm going to have to defend this to death, I'm sure.
A bit shaggy for my taste, but I can totally understand others finding this relatable and moving. It ends on a sweet note and has a genuine interest in the independent lives of each character, but it explores these threads to the detriment of the (ostensible) primary narrative of Johnson and DeWitt. It becomes a bit silly to have every Uber driver bare his or her soul.
i appreciated the absurdist allegory- a certain understated comedy about it. happily surprised by the depth, that i wasn't necessarily expecting from seeing trailer. i also just appreciate this film's morals, it stands out in the pack. tactfully shot as well.
The cosmos, two members of the human race, one reaching inward, the other outward, both toward some conceptualization of the sublime, which is of course also oblivion. Joe Swanberg's ideas are vast; his is a state of mind which constantly, unassumingly seeks the fleetingly revolutionary, the origins of man, the dichotomy between identity & community/family. Swanberg does so much with performances, with environment.
Neo-magical realism as only Joe Swanberg could do it. I love seeing famous actors like Sam Rockwell and Anna Kendrick and Orlando Bloom do naturalistic acting; it's a simple pleasure in this world of explosions and VFX and structure.