This is my second encounter with Alex Ross Perry`s gloomy universe of self-serving intellectuals and their dishonest relationships after Golden Exits, which i saw in February, in a rather awkward presentation at Berlinale; I am a fan, still need to watch the other ones. That Voice needs a lot of sharpness.
The tyranny of TV-closeups in modern film making, the misconception that shooting exclusively at 50mm and upwards will make mumbly, post-Wes Anderson, semi-literary BS interesting, when in reality it only induces nausea and dilutes the beautiful cinematic trope that the close up once was.
A combination of Girls, Tiny Furniture, Frances Ha, Beginners, and every Woody Allen film. Philip is such an unsympathetic character from the start that I couldn't help finding it darkly comic(something I didn't find in Inside Llewyn Davis, whose protagonist was just bland). Also funny because it reminds us how much the "great American writer" has become an anachronistic figure. His struggles seem all the more petty.
“Is there a trash in here?” “Yes, I’m right here.” Perry comes into form, aided by Sean Price Williams and a terrific ensemble cast, and delivers one of the most effective films about an asshole I’ve ever seen. If you’ve been waiting on Schwartzman to play a character in line with Max Fischer, here it is. The best film of 2014.
Well that was depressing & kind of pointless. Smart, put pointless. I'm not sure if this kind of caricature of a doleful and bitter author serves any purpose anymore. Don't get me wrong, I "get" the thought-pattern of upper-class male authors, and recognizing it fondles my ego, me being a writer and a (hopefully former) dick myself. But maybe you should rise above and let go of the moralistic-yet-so-deadpan-disdain.
Natalie soon came to understand that there was little point to persevering with a film which consciously avoids presenting a redeemable narrative and drowns in a sea of irredeemable characters. Except, perhaps for the one played, sympathetically by everyone's favourite injured-and-indignant copywriter on the up, well, Elisabeth Moss, whom, with her sassy crop, defies the underwhelming levels of character development.
I liked certain aspects of the film, such as the play with the natural light to create atmospheric feel, I liked Elisabeth Moss (she was the main reason why I wanted to see this film in the first place), the free flow of the story that doesn't follow a typical development. But in general there's nothing special about it - the story doesn't go anywhere, the main character is stagnant and hardly interesting at all..