Cheyenne is a former rock star. At 50 he still dresses “Goth” and lives in Dublin off his royalties. The death of his father, with whom he wasn’t on speaking terms, brings him back to New York. He discovers his father had an obsession: to seek revenge for a humiliation he had suffered.
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This Must Be the Place did such a good job misdirecting its audience from its shortcomings by inundating it with a subtle tital wave of random oddness. Penn plays a great Andy Warhol/Robert Smith hybrid, hunting a Nazi war criminal of all things. Good supporting cast and cameos. Definitely worth a watch.
As much as I admire Sorrentino - he is, by far, Italy's most interesting contemporary directors - this pastiche (The Ozzies, Tim Burton, Robert Smith, Jim Jarmusch etc.) is ALL OVER THE PLACE. The new age-style epiphanies that are supposed to give the film any substance undermine its very meanings. There is too much stuff here, Paolo. I miss the superb minimalism of "The Consequences of Love".Road movie cul-de-sac..
I really wish this movie hadn’t been so damn aimless. Sean Penn does such a great job as Cheyenne, although it did get a little over-the-top once or twice. It’s gorgeously shot, sports good performances, and balances amusing and dramatic decently, but it really needed some major rewriting to get that script in order because it was just all over the place. The Talking Heads performance was wonderful.
Sorrentino si fa troppe pippe inutili per far vedere quanto è bravo. Penn ogni tanto è irritante (mai quanto il pubblico ridanciano, per un momento ho pensato di essere tornato a vedere Zoolander) ma a tratti funzionicchia. Non è da buttare del tutto, l'ambientazione è notevole - e come potrebbe essere altrimenti, con quelle location? - e pure qualche dialogo. Mi ha ricordato, in peggio, Broken Flowers.
If the central character/performance and plot weren't overtly "quirky", this would get the kind of critic attention Alexander Payne movies routinely get. It's got the pathos and small moments people overpraise Payne for in spades. People who don't like Penn or the story can't deny that the direction is beautiful. It's like (sorry..about namedrop analogize) a mix of Ashby, '80's Demme & Wenders, & 90s Cohen bros.
Incredibly refreshing film-making with this wonderfully weird and human road trip. Sean Penn proves he is absolutely fearless as a damaged man seeking to reconcile his past with his future and the cameo by Harry Dean Stanton in the desert dinner is a beautiful hat-tip to Paris Texas. The cinematography is outstanding as is the score. Lyrical, inventive and surprisingly profound. 4 stars