Tracy, a lonely college freshman in New York, is rescued from her solitude by her soon-to-be stepsister Brooke, an adventurous gal about town who entangles her in alluringly mad schemes. Mistress America is a comedy about dream-chasing, score-settling, makeshift families, and cat-stealing.
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I'm not the target audience for this film. Maybe I'm too old, or maybe it's because I didn't grow up watching "Friends" on TV, or maybe it's because I hated the music. Everything about the people in this film is annoying, I guess that that is supposed to be funny. I know some people that liked this film. Well, I don't really know them, but I met somebody who liked it.
There's something about this and Frances Ha that really attracts me to Baumbach's films. It might be their new look on young women, their rawness and spontaneity. Or probably it's just Greta Gerwig. I just love the dialogs and how, in the end, the plots aren't centered on the relationships of these girls with guys but instead on their relationships with themselves and each other, while growing up and becoming adults.
What a waste of coolness. I get the screwball comedy thing, but it is so farfetched and dislocated: how am I going to care about anything when these people sound so fake and boring? As an age-coming-through dialogue, it's also bland: it's the same perpetuated nule whining about self absorved millenium crisis. Hyping an overrated business idea or giving cliche realness on writing stories - this is vanilla cinema.
It'll take another viewing before I decide if the jarring tonal shift that occurs during the Connecticut section of the film is a miscalculation or a necessary key change; regardless, "Mistress America" is another hilarious and keenly observed comedy from Noah Baumbach, with the right amount of understated melancholy and a breakout turn from Lola Kirke in what is easily one of the best performances of the year.
Absolutely all of the central performances are pitch perfect! There's an affable fleetness the film picks up once within Brooke's orbit, a kind of woozy high that's as irresistible as she is. We see her flaws immediately, from her first haughty, overly-dramatic, charming, awkward appearance, descending down the red steps in Times Square, but we're also immediately intrigued and forgiving.
Fucking annoying. I can't stand Ivy league folks, with their « bourgeois existence ennui ». The characters are arrogant and so superficial. Maybe this film reflect perfectly my jealousy for hipsters « easy » lifestyle. At least, Frances Halladay has more humanity because of her natural and charming clumsiness. I should going back to proletarian Rossellini's shits, lol. What a waste of time.
One of Baumbach’s wittiest films, Mistress America takes a classic structure and spins it to accommodate the filmmaker’s exquisite sense of social ineptitudes and emotional singularities. Baumbach yet again uses New York as the backdrop to the intellectual and the desperate – often times both terms being interchangeable – in the process exploring his most cherished theme: growing up.
Requires seriously high tolerance for dopey whimsy and Great Gerwig's ongoing deformation into precious, quirky, self-aware 'in on it' wraith of our new, blithe Sodom. It's a pity. I used to be certain that Noah Baumbach was an utterly objectionable full-of-shit coward. I waffled. Shouldn't have. My first judgment, though maybe harsh, was a sound one. I hate most things about this move. Not Lola Kirke. She's great.