41/100 (Film boyunca gerçek hayatta 1 kitap açmadığına, doğru düzgün zekaya sahip olmadığına emin olduğumuz tipler felsefe parçalıyor, tirad atıyor. Buna dayanmak imkansız. Keza filmin sonunda Reeves'in oynadığı karakterin komik değişimi, başroldeki sarı çocuğun hastalığının karikatürize edilmesi tuz biber oluyor. Sanattan anlamayan birinin sanatsal film çekme çabasının sonucu bu filmdir işte. Zorlamayın artık...)
It's quite messy to be honest, which sometimes makes a splash, but sometimes gets in the way of better filmmaking. Reeves is close to pathetic, which is not surprising, cause how could it be? But Phoenix is great, and for him you should see this otherwise pretty average indie flick.
the scene between river and keanu by the fire in idaho brought tears to my eyes ... aside from that ... the grace zabriskie cameo made me shriek, the intertitles were pretty, i guess i’m always glad to see gay people do things on screen? the movie didn’t do a lot for me. something about Van Sant’s style ... a little precious. “corny,” as keanu says about udo kier in one scene ...
Perfectly blending a documentary-like focus on its characters & their interactions with moments of stylisation, including intermittent iambic pentameter & dreamlike imagery, My Own Private Idaho is a film that will probably grow in estimation on repeated viewings. While it can be dry & elusive, there's no faulting the sensitive performance of Phoenix or Van Sant's restless exploration of desolate American landscapes.
★★★★ / 35mm / Van Sant’s beautiful film, is a heartbreaking fable of a wounded soul’s fruitless search for his mother. Endlessly creative, Van Sant mixes in surreal flourishes with humor, Shakespearean drama, and harsh realism. Brilliantly led by Phoenix, who infuses Mike with a piercing vulnerability and ennobled fatalism. Equally good, Reeves, an effective portrayal of privileged cynicism.
Overstuffed with ideas and formal inventions; inspirations that would fuel an entire movie are presented and discarded within moments. Never constrained by its conceits, Van Sant deploys Shakespearean iambic pentameter for an interlude in the film and then drops it, as if to say the Henry IV thing will never hem him into a gimmick. But it's not academic. River is saturated in pathos. This is a feeling, warm tragedy.
Want a tender, dreamy road movie about a narcoleptic hustler starring River Phoenix? How about a hammy Portland remake of Chimes at Midnight starring Keanu Reeves? Well, tough, because you can't get one without the other. I'll admit I found most of the Shakespeare scenes painful, and I'll also admit that by the end they didn't bother me so much—so graceful is the place that this road sinks into the horizon.
2-3. I'm just gonna bury the lede here and say that the film's overall language (symbolic use of location, portraiture, animals, etc.) and River Pheonix's performance are the movie's huge saving graces. I pretty much could've done without Bob, his pack of street rats, and the Elizabethan language. On top of that, Keanu Reeves only seems to emote during the (offscreen) sex scenes. It could've been better.
My Own Private Idaho has meandering energy, a convoluted plot, sputtering characterizing, and ghostly-skeletal drama. It doesn't emote feelings, nor is it immersive, it's also quite self-conscious and stilted. Ultimately, My Own Private Idaho is strung together with long-talky scenes and unmotivated turning points, that all, lack emotional conviction. Most overrated film of both Phoenix and Van Sant?