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Post by DeepArcher on Nov 28, 2021 23:22:07 GMT
Saw this on 70mm yesterday. Still mulling it over, but it's a PTA movie, of course it's great. Even if it immediately strikes me as a minor PTA, there are still so many different moments I've been thinking about since. Some of its big set-piece moments belong in the greatest hits of his filmography, but mostly I'm just struck by the way he brings so much sensitivity and humanity to the minute moments. Maybe this is just because I saw it on film, but this is without a doubt the most gorgeous cinematography I've seen this year. No one knows how to shoot a close-up like PTA.
I'm still thinking on it and I probably won't write more in-depth on it until I see it again, but I'll gladly talk about anything else people want to in the meantime. Even if I'm still making up my mind, I already can't wait to watch it again and again.
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Post by quetee on Nov 29, 2021 2:16:33 GMT
A lot of reviews say it's a nice ending, well? Did he land it or what??
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Post by DeepArcher on Nov 29, 2021 4:47:45 GMT
A lot of reviews say it's a nice ending, well? Did he land it or what?? The climatic sequence is definitely one of the film’s highlights. It’s simple and really effective, a lovely culmination of the entire film before it. I think the very end, like the final 20 seconds, will invariably be the most controversial/polarizing part of the film, and I’m still not sure how to feel about it myself, but on a more broadly emotional level, it really sticks the landing.
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Post by DeepArcher on Nov 30, 2021 21:09:21 GMT
Ah, couldn't help myself. Wrote a little bit more about this on Letterboxd, mostly a PTA devotee gushing about PTA's filmmaking, with very minor spoilers I guess, to the extent that this is a movie that can even be "spoiled," which it really can't be:
Even in a more low-stakes film, relative to his others, PTA can't help but bring disarming filmmaking to the most routine scenes. There's a lot of moments in Licorice Pizza that I haven't been able to stop thinking about in the few days since I've seen it, and one of the main ones is a small moment in which our protagonists, Gary and Alana, embrace each other outside a police station after a brief but stressful separation. The camera isn't focused on the characters themselves, but on their blurred reflections in the windows of the building behind them, as if this elongated moment between them is too intimate to be seen in the camera's direct view, but too powerful to go unacknowledged entirely. The camera stays on them, for a *long* time, their formless shapes appearing frozen in place in this spontaneous, surprising gesture of affection - until, finally, after the moment has been extended for an arbitrary amount of time, the music kicks in, and they're back to dashing through the streets of the San Fernando Valley.
The power of PTA's willingness to linger on images of characters in their most vulnerable states cannot be overstated, and, despite Licorice Pizza being comfortably the least dramatic film he's ever made, it feels more integral here than it perhaps ever has in his prior films. There's another scene late in the film in which the camera remains focused on Alana's reflection in a mirror, for several minutes, despite the fact that the bulk of the conversation in the scene is occurring between the two characters on either side of her, who largely remain offscreen. It's because the camera - which, as cliche as it may sound, is probably the closest thing Licorice Pizza has to a third principal character - knows that what's important to the scene isn't the scene itself but how Alana reacts to it, and no matter how long the film seems fixated on this counterintuitive framing, it finds its power through the intimacy and intelligence of this choice. Licorice Pizza, shot by PTA himself and Michael Bauman, is an embarrassment of cinematographic riches, its hypnotizing quality certainly amplified by the 70mm film projection, though inevitably striking no matter the viewing format. No one in Hollywood today can shoot a close-up the way that PTA can, and there are close-ups in Licorice Pizza that communicate more about the film's most peripheral characters than entire lesser films do their main players.
All of this focus on the striking minutiae is not to say that Licorice Pizza never goes big; when it swings, it swings wide, and yes, some of those swings are misses. A number of its primary set-pieces, though, comfortably stake their claim in the pantheon of PTA's greatest hits -- the Sean Penn motorcycle jump, the visit to Jon Peters' house, and the lovely climatic sequence, which features what is almost certainly the most memorable use of cross-cutting in his entire filmography (it's not something that PTA does a whole lot of in general, but here it is immensely effective). Even if this effortlessly charming, often hilarious, occasionally troubling coming-of-age nostalgia trip throwback doesn't go down as one of PTA's crowning achievements, it also has the mark that all of his great films (which is just about all of them) have -- its many indelible moments, both big and small, will call me back to watch it over and over again. For a director known for probing into fraught emotional depths, charting the dark and perverse psychologies of complex characters, this is a dramatic departure, an out-and-out comedy coasting on little else but the irresistible chemistry of its leads and the frantic, unfocused, passionate energy of a burgeoning adult with nowhere else to go in life but all over the place, more than enough to ensure this thing never entirely runs out of gas. When Licorice Pizza takes off running, just being along for the ride is breathtaking fun.
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Post by pacinoyes on Dec 2, 2021 22:46:10 GMT
7.5 + / 10 ..... "Is your bottom soggy?"Around the time that line comes up I was totally hooked but really it had me in the first 5 minutes - I mean this movie uses "Stumblin' In" - which dovetails with my Suzi Quatro infatuation phase - so I could relate to a lot of this movie - and heck I've been to Intercourse, Pennsylvania myself - a couple times (um). A jam packed screenplay full of ideas, whip-smart back and forth between Hoffman and Haim (they're adorable) and crammed with outlandish 70s pop culture entertainment scenarios - this movie spins in the gap between "I'm not going out with you, man" .................and "I'm not going out with you, kid"..........and that whole endless space in between. Fizzy, loose-vibed and buoyant - especially early on when it's a blast - it's also slight and fairly disposable and for me ran out of gas (no pun) at a certain point before suddenly pivoting and ending really great - which is something PTA doesn't always do (at all) - but off a one time watch I felt slightly buzzed from it's vibe at its best..........which counts for a lot. Sean Penn is big time hammy and campy as William Holden or a character inspired by him (I guess) and Tom Waits as his film director buddy / enabler is Tom Waits hammy.........it's at this point that the air starts to come out of the movie and it appears "constructed" imo. I preferred it - and bought it - earlier on - but our couple (sorta) reunites in the Penn sequence ( it doesn't last! ) here with the boob grabbing / copping a feel set-piece that then leads us off to yet another next adventure / set-piece - that would be gas crisis............. Life on Mars..........and back in Cali - Bradley Cooper........... Benny Safdie and a great dinner sequence til the end. Like I said, I dunno, I liked it better before the "names" came into the movie and it felt padded though still entertaining but then awesomely it hits a movie magic grace note which is just perfect. Film is beautifully shot, scored and edited ...........he hasn't made a movie I haven't liked and I like this one more than Magnolia and Inherent Vice ........even Punch Drunk Love .........off a 1 time watch anyway........people will tell you it's minor PTA and I guess it is but at its best.........and at the end it feels pretty major too.
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Post by DeepArcher on Dec 2, 2021 23:16:53 GMT
pacinoyes It's interesting to me how some people seem to prefer the second half and some people seem to agree with you in preferring the first half. I feel like coming out of my screening I definitely preferred the second half where the big-name cameos start pouring in - I think those "bigger" setpiece moments sort of add something the movie might've been lacking up until that point - but since seeing it, I've found myself thinking more and more about a lot of the funnier moments in the first half (dinner scene with the Haims, Alana selling the waterbed, the Harriet Sansom Harris scene, etc.). I think the first half still might be soured a bit by some gags that outright don't work (the wtf John Michael Higgins character, mainly) and the second half might find its groove a little better, but I also get preferring the quaintness of the first half that is more tightly focused around Gary and Alana. And I know that endings have always been one of your main issues with PTA, so I'm glad this one landed for you!
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Post by quetee on Dec 9, 2021 1:49:38 GMT
A good movie, I wouldn't mind if it wins bp but not sure if they would go for something like this. Then again, looking back at The Shape of Water..well.
Bradley is good but I have to agree with that one tweet, he just doesn't have enough screen time. If he had an arc like Cruise, he would win.
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Post by quetee on Dec 12, 2021 20:39:43 GMT
I was thinking about movie today, will go see it again soon. This time, I will not ditch work though. LMAO.
In this movie, even though he didn't have a lot of screen time, Sean Penn reminds people how good he really is.
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Post by DeepArcher on Dec 12, 2021 21:28:35 GMT
I was thinking about movie today, will go see it again soon. I'm dying to see it again! That expansion cannot come soon enough. Not a day has gone by that I haven't thought about it and it's only gotten better in my mind's eye since!
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Post by quetee on Dec 12, 2021 21:32:28 GMT
I was thinking about movie today, will go see it again soon. I'm dying to see it again! That expansion cannot come soon enough. Not a day has gone by that I haven't thought about it and it's only gotten better in my mind's eye since! I'll probably try to see it in January. At least I got to see it in 70mm. It's doing well at the box office, a million dollars on 4 screens.
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Post by quetee on Dec 12, 2021 21:54:34 GMT
By the way, if PTA ever decides to do a sequel, this would be it. I would love to see where these characters ended up ten years later. At that point, Alana, would be nearly 40.
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Post by stephen on Dec 12, 2021 22:02:37 GMT
By the way, if PTA ever decides to do a sequel, this would be it. I would love to see where these characters ended up ten years later. At that point, Alana, would be nearly 40. And it turns out that it's all actually the story of Philip Seymour Hoffman's character in Punch Drunk Love, who went from waterbeds to mattresses.
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Post by pacinoyes on Dec 13, 2021 22:34:00 GMT
7.5 + / 10 ..... "Is your bottom soggy?"Around the time that line comes up I was totally hooked but really it had me in the first 5 minutes - I mean this movie uses "Stumblin' In" - which dovetails with my Suzi Quatro infatuation phase - so I could relate to a lot of this movie - and heck I've been to Intercourse, Pennsylvania myself - a couple times (um). A jam packed screenplay full of ideas, whip-smart back and forth between Hoffman and Haim (they're adorable) and crammed with outlandish 70s pop culture entertainment scenarios - this movie spins in the gap between "I'm not going out with you, man" .................and "I'm not going out with you, kid"..........and that whole endless space in between. Fizzy, loose-vibed and buoyant - especially early on when it's a blast - it's also slight and fairly disposable and for me ran out of gas (no pun) at a certain point before suddenly pivoting and ending really great - which is something PTA doesn't always do (at all) - but off a one time watch I felt slightly buzzed from it's vibe at its best..........which counts for a lot. Sean Penn is big time hammy and campy as William Holden or a character inspired by him (I guess) and Tom Waits as his film director buddy / enabler is Tom Waits hammy.........it's at this point that the air starts to come out of the movie and it appears "constructed" imo. I preferred it - and bought it - earlier on - but our couple (sorta) reunites in the Penn sequence ( it doesn't last! ) here with the boob grabbing / copping a feel set-piece that then leads us off to yet another next adventure / set-piece - that would be gas crisis............. Life on Mars..........and back in Cali - Bradley Cooper........... Benny Safdie and a great dinner sequence til the end. Like I said, I dunno, I liked it better before the "names" came into the movie and it felt padded though still entertaining but then awesomely it hits a movie magic grace note which is just perfect. Film is beautifully shot, scored and edited ...........he hasn't made a movie I haven't liked and I like this one more than Magnolia and Inherent Vice ........even Punch Drunk Love .........off a 1 time watch anyway........people will tell you it's minor PTA and I guess it is but at its best.........and at the end it feels pretty major too. 2nd watch - marvelous film to visit and hang out with - on 2nd viewing you laugh at how comfortable you are with everyone: "Is she your girlfriend?
No, what.........um...... does she seem like my girlfriend?
Yeah kind of.
She used to be my babysitter"
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futuretrunks
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Post by futuretrunks on Dec 25, 2021 0:43:35 GMT
Sucked. It was dull, disjointed, and lacked any real narrative. Utter failure. It was pretty much lifeless whenever Bradley Cooper was not onscreen. Almost as bad as Inherent Vice.
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Post by DeepArcher on Dec 25, 2021 3:45:58 GMT
^ Lol
Saw this a second time, reaffirmed it as a "minor" work (with heavy airquotes because I do have this ranked at like the middle of his filmography, which is still hugely high praise from me) but also one that is a remarkable feat of filmmaking even if you can certainly quibble with story decisions. It's a firecracker comedy and the thing I forgot about is how much it's kind of a cringe comedy -- it's not just a coming-of-age film set in the '70s but it also kinda feels like the type of coming-of-age film they might make in the '70s -- while also being an active demystification of its own setting. It's easy to forget when you're not watching it and you remember everyone being funny, but the thing about this movie is that it reveals all of these charming people as just outright cruel, and even Gary is cruel, more than I remember, the film just suggests at his growth more than it would any of the peripheral characters, or at least you want to believe in that growth even if it's not totally there. Anyway, it's great. Some scenes don't play as well on rewatch when you know what's coming, some play even better, some play just as well as you remember because there's all these subtleties you forgot about and then they can surprise you all over again. Alana's character and performance is one for the ages.
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Post by pessimusreincarnated on Dec 27, 2021 0:07:54 GMT
Maybe it was a mistake to pair this as a double feature with Nightmare Alley (which I saw first and was surprised by how much I ended up liking), but I was a little disappointed with PTA's latest. Which pains me to say, because I've essentially loved everything he's done- yes, even Inherent Vice. LP definitely reminds me the most of Vice in his filmography; it's meandering, freewheeling, sun-drenched, and feels more like a series of vignettes than a cohesive story unto itself. This worked to the benefit of Inherent Vice because of the kind of story that was being told, a marijuana-laced, hippy dippy tripout bathed in paranoia and mystery. Licorice Pizza is a movie that desperately needed a more streamlined narrative in order to get me to care about these characters more. We're definitely supposed to love following the misadventures of Gary and Alana, and get invested in their budding romance, but for the life of me I couldn't get over how creepy this romantic pairing was. She's 25. he's 15. That's fucking weird no matter how you slice it (no pun intended), and I don't feel like the movie ever explores the inappropriate nature of their mutual attraction enough. Beyond that, I was only occasionally invested in their exploits. I loved the scenes of Gary performing as a child star, but most of the movie is focused on his comically ambitious business ventures which never quite grabbed me. Alana is a pretty great character and performed fantastically by Haim (an Oscar nod would be well-deserved), but she mostly just feels like a tagalong for the majority of the film. On the plus side, the cast is uniformly excellent. Already sang Haim's praises, but Cooper Hoffman is also great, embodying the charm and charisma of a teenage go-getter to a tee. The supporting cast has no slouches either, with Tom Waits and Bradley Cooper in particular standing out, despite very brief screen-time. The soundtrack is predictably wonderful and very well-utilized, never feeling intrusive to the film with obnoxiously on-the-nose needle drops (basically the anti- Fear Street). And, this being a PTA joint, the whole thing looks and feels authentic and beautiful. He no doubt made exactly the kind of hangout movie he wanted to make, I just wish I could've gotten invested in it more. With a few more narrative tweaks, and a disposal of that inappropriate romance, this would've fit nicely into his filmography. As is, it's easily my least favorite. I will be re-watching at some point though, as I would like to gauge whether or not the double feature negatively impacted my viewing experience. Right now, it's a 6.5/10. Sorry fellow PTAbros
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Post by stephen on Dec 27, 2021 0:22:00 GMT
This is totally the origin story of the Mattress Man in Punch Drunk Love.
Also, yeah, surprise-surprise coming from a staunch PTA devotee, but it's masterful. Cooper Hoffman carried himself so well and he's definitely got his dad's vibe while bringing his own unique flavor of it to the fore; I really hope we get to see him really stretch his legs as he gets older. Alana Haim is a titanic force to be reckoned with -- she galvanizes the screen from the jump and we fall in love with her as easily and readily as Gary does. An Oscar nomination would be richly deserved (even if I still think she'll ultimately miss it in favor of more established names). Penn's great, Safdie's great, Waits is great, Cooper is really fucking great (I was shaking my head at how it was a real shame we wouldn't see more of him when he left the house, and then he came stalking up to their truck a few minutes later for an encore), and Skyler Gisondo's character deserved his own movie. Christine Ebersole proved in a short two scenes that she would've nailed Being the Ricardos, and Harriet Sansom Harris continues her reign as the queen of one-scene wonders.
I can certainly understand why people have their hackles up about the age difference, and the John Michael Higgins stuff certainly wasn't above reproach, but what can I say? I was charmed.
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futuretrunks
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Post by futuretrunks on Dec 27, 2021 0:23:07 GMT
One of my biggest takeaways from this movie is I actually doubt PTA will ever get Leo to act in one of his movies. I don't think he'll write a role with enough meat on it to entice DiCaprio.
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Post by finniussnrub on Dec 27, 2021 0:36:52 GMT
One of my biggest takeaways from this movie is I actually doubt PTA will ever get Leo to act in one of his movies. I don't think he'll write a role with enough meat on it to entice DiCaprio. Who needs Leo when you have George?
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Post by stephen on Dec 27, 2021 0:41:02 GMT
One of my biggest takeaways from this movie is I actually doubt PTA will ever get Leo to act in one of his movies. I don't think he'll write a role with enough meat on it to entice DiCaprio. Who needs Leo when you have George? I would love it if PTA released a "Mattress Man"-esque commercial with Mr. Jack on the Blu-ray.
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Post by quetee on Dec 27, 2021 1:04:35 GMT
This is totally the origin story of the Mattress Man in Punch Drunk Love. Also, yeah, surprise-surprise coming from a staunch PTA devotee, but it's masterful. Cooper Hoffman carried himself so well and he's definitely got his dad's vibe while bringing his own unique flavor of it to the fore; I really hope we get to see him really stretch his legs as he gets older. Alana Haim is a titanic force to be reckoned with -- she galvanizes the screen from the jump and we fall in love with her as easily and readily as Gary does. An Oscar nomination would be richly deserved (even if I still think she'll ultimately miss it in favor of more established names). Penn's great, Safdie's great, Waits is great, Cooper is really fucking great (I was shaking my head at how it was a real shame we wouldn't see more of him when he left the house, and then he came stalking up to their truck a few minutes later for an encore), and Skyler Gisondo's character deserved his own movie. Christine Ebersole proved in a short two scenes that she would've nailed Being the Ricardos, and Harriet Sansom Harris continues her reign as the queen of one-scene wonders. I can certainly understand why people have their hackles up about the age difference, and the John Michael Higgins stuff certainly wasn't above reproach, but what can I say? I was charmed. Just needed an arc and he would have won the Oscar.
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Post by finniussnrub on Dec 27, 2021 3:04:22 GMT
This is totally the origin story of the Mattress Man in Punch Drunk Love. Also, yeah, surprise-surprise coming from a staunch PTA devotee, but it's masterful. Cooper Hoffman carried himself so well and he's definitely got his dad's vibe while bringing his own unique flavor of it to the fore; I really hope we get to see him really stretch his legs as he gets older. Alana Haim is a titanic force to be reckoned with -- she galvanizes the screen from the jump and we fall in love with her as easily and readily as Gary does. An Oscar nomination would be richly deserved (even if I still think she'll ultimately miss it in favor of more established names). Penn's great, Safdie's great, Waits is great, Cooper is really fucking great (I was shaking my head at how it was a real shame we wouldn't see more of him when he left the house, and then he came stalking up to their truck a few minutes later for an encore), and Skyler Gisondo's character deserved his own movie. Christine Ebersole proved in a short two scenes that she would've nailed Being the Ricardos, and Harriet Sansom Harris continues her reign as the queen of one-scene wonders. I can certainly understand why people have their hackles up about the age difference, and the John Michael Higgins stuff certainly wasn't above reproach, but what can I say? I was charmed. With the latter I think it is pretty clear he's framed as the idiot, not as a funny man, however I do wish PTA had just cut it out the two minutes of screentime given how much attention that little of the film is getting.
The former though I will say is pretty much the crux of the story, as the age difference is the barrier in the relationship, and is the consistent complication. If Haim's character was another high school girl, or Hoffman's a college guy, the story would've been over in 1 scene.
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Post by stephen on Dec 27, 2021 3:10:45 GMT
This is totally the origin story of the Mattress Man in Punch Drunk Love. Also, yeah, surprise-surprise coming from a staunch PTA devotee, but it's masterful. Cooper Hoffman carried himself so well and he's definitely got his dad's vibe while bringing his own unique flavor of it to the fore; I really hope we get to see him really stretch his legs as he gets older. Alana Haim is a titanic force to be reckoned with -- she galvanizes the screen from the jump and we fall in love with her as easily and readily as Gary does. An Oscar nomination would be richly deserved (even if I still think she'll ultimately miss it in favor of more established names). Penn's great, Safdie's great, Waits is great, Cooper is really fucking great (I was shaking my head at how it was a real shame we wouldn't see more of him when he left the house, and then he came stalking up to their truck a few minutes later for an encore), and Skyler Gisondo's character deserved his own movie. Christine Ebersole proved in a short two scenes that she would've nailed Being the Ricardos, and Harriet Sansom Harris continues her reign as the queen of one-scene wonders. I can certainly understand why people have their hackles up about the age difference, and the John Michael Higgins stuff certainly wasn't above reproach, but what can I say? I was charmed. With the latter I think it is pretty clear he's framed as the idiot, not as a funny man, however I do wish PTA had just cut it out the two minutes of screentime given how much attention that little of the film is getting.
The former though I will say is pretty much the crux of the story, as the age difference is the barrier in the relationship, and is the consistent complication. If Haim's character was another high school girl, or Hoffman's a college guy, the story would've been over in 1 scene.
Oh, I got that Higgins is obviously framed as the buffoon, but he was a ridiculous character and the punchline that he didn't understand Japanese just wasn't worth it. And the age difference aspect of it didn't bother me (because obviously it was a known bone of contention well before I saw it), even though I think it absolutely wouldn't have made much of a difference if Gary were seventeen instead. Alana is likely twenty-eight based on what she said in the truck to Jon Peters, so even if their relationship would have been legal in the state of California, she still would've likely had a very similar reaction to a potential pairing that she did in the film. And it's interesting that no one else in the film, from Momma Anita to Danielle and Este, have anything negative to say about the fact that this woman in her mid-to-late-twenties is hanging out with a fifteen-year-old kid and his friends, especially in situations where she's asked to flaunt herself for advertising purposes.
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Post by mikediastavrone96 on Dec 27, 2021 3:17:01 GMT
This is totally the origin story of the Mattress Man in Punch Drunk Love. Also, yeah, surprise-surprise coming from a staunch PTA devotee, but it's masterful. Cooper Hoffman carried himself so well and he's definitely got his dad's vibe while bringing his own unique flavor of it to the fore; I really hope we get to see him really stretch his legs as he gets older. Alana Haim is a titanic force to be reckoned with -- she galvanizes the screen from the jump and we fall in love with her as easily and readily as Gary does. An Oscar nomination would be richly deserved (even if I still think she'll ultimately miss it in favor of more established names). Penn's great, Safdie's great, Waits is great, Cooper is really fucking great (I was shaking my head at how it was a real shame we wouldn't see more of him when he left the house, and then he came stalking up to their truck a few minutes later for an encore), and Skyler Gisondo's character deserved his own movie. Christine Ebersole proved in a short two scenes that she would've nailed Being the Ricardos, and Harriet Sansom Harris continues her reign as the queen of one-scene wonders. I can certainly understand why people have their hackles up about the age difference, and the John Michael Higgins stuff certainly wasn't above reproach, but what can I say? I was charmed. The former though I will say is pretty much the crux of the story, as the age difference is the barrier in the relationship, and is the consistent complication. If Haim's character was another high school girl, or Hoffman's a college guy, the story would've been over in 1 scene.
You can get that barrier with the age gap being something closer like 17 & 21. I do think it's a bit weird to have it be that much of a gap for what is a pretty chaste movie, but I also am not sure PTA really thought that much about it since the film is not provocative aside from the scene they put in the trailer where she shows him her boobs (though I do think it fair to note if the genders were swapped and it were a 25-year-old man exposing himself to a 15-year-old girl, a lot more people would be calling for PTA's head).
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Post by finniussnrub on Dec 27, 2021 3:23:01 GMT
Oh, I got that Higgins is obviously framed as the buffoon, but he was a ridiculous character and the punchline that he didn't understand Japanese just wasn't worth it. And the age difference aspect of it didn't bother me (because obviously it was a known bone of contention well before I saw it), even though I think it absolutely wouldn't have made much of a difference if Gary were seventeen instead. Alana is likely twenty-eight based on what she said in the truck to Jon Peters, so even if their relationship would have been legal in the state of California, she still would've likely had a very similar reaction to a potential pairing that she did in the film. And it's interesting that no one else in the film, from Momma Anita to Danielle and Este, have anything negative to say about the fact that this woman in her mid-to-late-twenties is hanging out with a fifteen-year-old kid and his friends, especially in situations where she's asked to flaunt herself for advertising purposes. I'll agree should've cut out Higgins anyways, as he gave a rare bad PTA directed performance.
Well both ages would've still been below California consent laws, so moot point there, however, the particular just below 16 actually does factor into the story with driving age. Though all too much fuss made over a film without consummation. Unlike something like Call Me By Your Name where all there is, is that, and I feel less was made about it.
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