Beautiful and steamy cinematography - along with existential crisis of struggling artist - echoes another "Inside Llewyn Davis". And just like the latter, it's concluded without much resolution other than "life goes on". But everything in between is just another "easy to watch" crime story that doesn't offer many revisits. Still, the cast is respectable and it's a pleasant companion for the rainy afternoon.
The story is interesting but not the implementation. There is no real tension throughout the entire movie, at no time. It just trickles along. There are two fundamentally broken people and we don't know much, pretty nothing about them, and therefore the movie is dull & empty from start to finish. 2,5 stars.
Here's an awards season film I saw the trailer for and (wrongfully) assumed would be a visually uninteresting talkie - but no, this is well shot by Brandon Trost and, more than that, represents one of the best films I've seen about writers, precisely because it takes a pickaxe to the notion that the writing life is anything but extremely difficult and frequently unrewarding even when one is turning out quality work.
The REGnnaissance (sorry) - which, lest we forget, began so brilliantly in LOGAN - is a joy to watch, even if it ultimately just makes you yearn for him, Bruce Robinson and Paul McGann to just sort out that bloody Withnail sequel. In the meantime this film is sweet fun, but the scenes with him and McCarthy (also excellent) are truly the stand out.
Richard E Grant plays the same character he can only play in an 'unironic' story about a cantankerous, lesbian cat-lady, literary intellectual so useless at social etiquette she blames the world for her ills & then fabricates the words of others whilst believing her own lies. The only things missing were the Randy Newman soundtrack and the Hillary ballot. Catch me if you can for fans of Frasier.
Another case of Hollywood picking up an honest piece of work and making it a little less sordid, a little more relatable and a little more constrained into familiar narrative arcs so that it can be profitable. It felt like all the raw, juicy humanity was over-cooked in a cheap microwave and turned into a dry slice of Oscar bait.
Tragicomic gold. I love how down to earth and depressing it feels, even when it's (very) funny, but it never goes for melodrama or easy laughs. McCarthy and Grant are just perfect. And I don't want to be the asshole that wishes Holofcenter would have directed it instead, but I'm going to be just that. Heller is a good acting director, but visually it felt like (ironically or not) a 90's Nora Ephron film.
Marielle Heller just crafted one amazing audiovisual love letter to all writers around the world, with her subtle but warm direction adding tons of energy and thematic undercurrents to this tale of stranded loneliness, where Melissa McCarthy and Richard E. Grant deliver two of the most captivating performances of 2018.