Showing posts with label Jennifer Jason Leigh. Show all posts
Showing posts with label Jennifer Jason Leigh. Show all posts

Friday, July 17, 2020

Review: "The Hateful Eight" is Certainly Great

TRASH IN MY EYE No. 14 (of 2020) by Leroy Douresseaux

[This review was originally posted on Patreon.]

The Hateful Eight (2015)
Running time:  188 minutes (3 hours, 8 minutes)
MPAA – R for strong bloody violence, a scene of violent sexual content, language and some graphic nudity
WRITER/DIRECTOR:  Quentin Tarantino
PRODUCERS:  Richard N. Gladstein, Shannon McIntosh, and Stacey Sher
CINEMATOGRAPHER:  Robert Richardson
EDITOR:  Fred Raskin
COMPOSER:  Ennio Morricone
Academy Award winner


Starring:  Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Dana Gourrier, Zoe Bell, Lee Horsley, Gene Jones, Keith Jefferson, Craig Strark, Belinda Owino, and Channing Tatum

The Hateful Eight is the 8th film from writer-director Quentin Tarantino.  A Western and mystery-thriller, The Hateful Eight focuses on two bounty hunters, a prisoner, and a new local sheriff who find themselves stranded in a cabin with a collection of nefarious strangers.  At least one of those strangers may be connected to the prisoner.

The Hateful Eight opens in the dead of a Wyoming winter some years after the Civil War.  O.B. Jackson (James Parks) drives a stagecoach through the snow-covered landscape.  Aboard his stagecoach is bounty hunter, John Ruth the Hangman (Kurt Russell), and his prisoner, Daisy Domergue (Jennifer Jason Leigh).  Ruth is taking Domergue to Red Rock, Wyoming where she is to be tried and hanged for her crimes.

The stagecoach comes across a second bounty hunter, Major Marquis Warren (Samuel L. Jackson), who was transporting three dead bounties to Red Rock when his horse died.  It takes some convincing, but Ruth allows Warren to board the stagecoach.  Shortly afterwards, former Confederate, Chris Mannix (Walton Goggins), who claims to be heading to Red Rock to assume the job of sheriff, hails the stagecoach.  It takes some talking, but Ruth also lets him aboard.

A sudden blizzard forces this quintet to seek shelter at the stagecoach stopover, Minnie's Haberdashery, but Minnie (Dana Gourrier) is nowhere to be found.  Instead, they are met by Bob (Demián Bichir), a Mexican who says that Minnie is visiting her mother and has left him in charge; Oswaldo Mobray (Tim Roth) who claims to be Red Rock's hangman; Joe Gage (Michael Madsen), a quiet cowboy; and General Sanford Smithers (Bruce Dern), a former Confederate officer.  John Ruth and Marquis Warren believe that at least one of the men they have found at Minnie's is in league with Daisy Domergue, but which one and when will he strike?

Although The Hateful Eight displays Quentin Tarantino's signature blend of wisecracking social commentary, action, humor, and over-the-top violence, this film is not like Tarantino's more popular films:  Pulp Fiction (1994), Inglourious Basterds (2009) and Django Unchained (2012).  These three films received best picture Oscar nominations, while The Hateful Eight did not.  The Hateful Eight is a parlor-room drama, but the parlor room is set up like a stage for live theater.

The other three films were wide-ranging epics full of hyper-kinetic violence.  They are flashy examples of Tarantino's bravura film making, while The Hateful Eight is quiet and edgy and brimming with malice, menace, and venom.  More than half the characters in The Hateful Eight really are fucking hateful, and that is a ratio that can be off-putting for the audience.

But not for me.  I would put The Hateful Eight in the top half of Tarantino's filmography.  This isn't Tarantino's best dialogue or screenplay for that matter, but his execution is impeccable, as usual.  The Hateful Eight is a riveting piece of work, three hours of glorious film narrative, and I enjoyed every minute of it.  I wanted more.

Besides Tarantino's stellar work, there are a number of good performances in this film.  Samuel L. Jackson, a Tarantino regular, gives his best performance in a lead role in years.  He gives the sly Marquis Warren layers, from vengeful former slave to death-dealing former P.O.W., but Jackson suggests that there is so much more to this man that it would take at least two movies to discover what is inside him.

Jennifer Jason Leigh also turns Daisy Domergue into so much more than what she seems.  Her performances is built on subtle changes in note; it is a bouquet of scents meant to keep the viewers on their heels when it comes to what her motivations are.  Joined at the hip with Kurt Russell, who also gives a spry, spicy turn, they make a good pair.  Walton Goggins also surprises, especially since his career, thus far, has been filled with oddballs who are odd for the sake of being an oddity in a film.

Ennio Morricone's score and the film's soundtrack offer a nice backdrop, heightening the sinister mood of the story.  The Hateful Eight might not be a Tarantino audience favorite; it is too slow for the kick-ass crowd.  However, I think that it is a masterpiece, a great modern Western that stands with the very few great Westerns of the previous four decades.

9 of 10

Sunday, July 10, 2016

Revised:  Thursday, July 16, 2020

2016 Academy Awards, USA:  1 win: “Best Achievement in Music Written for Motion Pictures, Original Score” (Ennio Morricone); 2 nominations:  “Best Performance by an Actress in a Supporting Role” (Jennifer Jason Leigh) and “Best Achievement in Cinematography” (Robert Richardson)

2016 Golden Globes, USA:  1 win: “Best Original Score - Motion Picture” (Ennio Morricone); 2 nomination:  “Best Performance by an Actress in a Supporting Role in a Motion Picture” (Jennifer Jason Leigh) and “Best Screenplay - Motion Picture” (Quentin Tarantino)

2016 BAFTA Awards:  1 win: “Best Original Music” (Ennio Morricone); 2 nominations: “Best Supporting Actress” (Jennifer Jason Leigh) and “Best Original Screenplay” (Quentin Tarantino)

The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint or syndication rights and fees.


Saturday, January 2, 2016

San Diego Film Critics Name "Mad Max: Fury Road" Best Picture of 2015

The members of the San Diego Film Critics Society write and/or broadcast for a San Diego County based outlet. The society’s mission statement is “to provide diverse critical opinion about movies, advance film education and awareness, and recognize excellence in cinema.”

2015 San Diego Film Critics Award winners were announced December 14, 2015.

San Diego Film Critics Society Top Films of 2015 awards:

Best Picture: MAD MAX: FURY ROAD

Best Director: George Miller, MAD MAX: FURY ROAD
Runner Up: Lenny Abrahamson, ROOM

Best Actor, Male: Leonardo DiCaprio, THE REVENANT
Runner Up: Jason Segel, THE END OF THE TOUR

Best Actor, Female: Brie Larson, ROOM
Runner Up: Charlize Theron, MAD MAX: FURY ROAD

Best Supporting Actor, Male: Tom Noonan, ANOMALISA
Runner Up: Oscar Isaac, EX MACHINA

Best Supporting Actor, Female: Jennifer Jason Leigh, THE HATEFUL EIGHT
Runner Up: Kristen Stewart, CLOUDS OF SILS MARIA

Best Original Screenplay: Jemaine Clement, Taika Waititi, WHAT WE DO IN THE SHADOWS
Runner Up: Noah Baumbach, Greta Gerwig, MISTRESS AMERICA

Best Adapted Screenplay: Emma Donoghue, ROOM
Runner Up: Donald Margulies, THE END OF THE TOUR

Best Documentary: CARTEL LAND
Runner Up: AMY

Best Animated Film: ANOMALISA

Best Foreign Language Film: TAXI (Iran)
Runner Up: WHITE GOD (Hungary)

Best Editing: Margaret Sixel, Jason Ballantine MAD MAX: FURY ROAD
Runner Up: Joe Walker, SICARIO

Best Cinematography: Roger Deakins, SICARIO
Runner Up: Emmanuel Lubezki, THE REVENANT

Best Production Design: Francois Seguin, BROOKLYN
Runner Up: Colin Gibson, MAD MAX: FURY ROAD

Best Sound Design: MAD MAX: FURY ROAD
Runner Up: LOVE & MERCY

Best Visual Effects: THE WALK

Best Use Of Music In A Film: THE HATEFUL EIGHT
Runner Up: LOVE & MERCY

Breakthrough Artist: Jacob Tremblay, ROOM
Runner Up: Alicia Vikander, THE DANISH GIRL, EX MACHINA



Kyle Counts: Ralph DeLauro
[Kyle Counts was a San Diego film critic, and the award named for him is given to a person for contributions made to film in San Diego.]


Saturday, December 12, 2015

National Board of Review Names "Mad Max: Fury Road" Best Film of 2015

The National Board of Review of Motion Pictures, which is made up of film enthusiasts, academics, students, and filmmakers, historically launches the movie awards season.

NBR President Annie Schulhof said, “2015 has been a banner year for popular cinema. We are thrilled to be awarding George Miller and Ridley Scott, two iconic filmmakers at the top of their game, while also celebrating the next generation of talent.”

The 2015 William K Everson Film History Award recipient is Cecilia De Mille Presley, the granddaughter of legendary director, Cecil B. DeMille. As Vice Chair of the National Film Preservation Foundation, she has devoted her life to film preservation. In honor of her grandfather’s legacy she has co-authored the book Cecil B. DeMille: The Art of the Hollywood Epic.

For 106 years, the National Board of Review has dedicated its efforts to the support of domestic and foreign cinema as both art and entertainment. This year, over 250 films (studio, independent, foreign-language, animated, and documentary) were viewed by this select group of film enthusiasts, filmmakers, professionals, academics, and students. These screenings were frequently followed by in-depth discussions with directors, actors, producers, and screenwriters. Voting ballots were tabulated by the accounting firm of Lutz and Carr, LLP.

The National Board of Review honors diverse members of the film community at their annual Awards Gala, which also acts as a fundraiser for student grant philanthropy. Hosted by Willie Geist, this year’s gala will take place on January 5, 2016 at Cipriani 42nd Street in New York City.  The 2015 National Board of Review of Motion Picture awards were announced Tuesday, December 1, 2015.

2015 National Board of Review of Motion Picture awards:

Best Film:  Mad Max: Fury Road

Best Director:  Ridley Scott – The Martian

Best Actor:  Matt Damon – The Martian

Best Actress: Brie Larson – Room

Best Supporting Actor:  Sylvester Stallone – Creed

Best Supporting Actress:  Jennifer Jason Leigh – The Hateful Eight

Best Original Screenplay:  Quentin Tarantino – The Hateful Eight

Best Adapted Screenplay:  Drew Goddard – The Martian

Best Animated Feature:  Inside Out

Breakthrough Performance:
Abraham Attah – Beasts of No Nation
Jacob Tremblay – Room

Best Directorial Debut:  Jonas Carpignano – Mediterranea

Best Foreign Language Film:  Son of Saul (Hungary)

Best Documentary:  Amy

William K. Everson Film History Award:  Cecilia De Mille Presley

Best Ensemble:  The Big Short

Spotlight Award:  Sicario, for Outstanding Collaborative Vision

NBR Freedom of Expression Award:
Beasts of No Nation

Top Films:
Bridge of Spies
The Hateful Eight
Inside Out
The Martian
Straight Outta Compton

Top 5 Foreign Language Films:
Goodnight Mommy (Austria)
Mediterranea (Italy)
Phoenix (Germany)
The Second Mother (Brazil)
The Tribe (Ukriane)

Top 5 Documentaries:
Best of Enemies
The Black Panthers: Vanguard of the Revolution
The Diplomat
Listen to Me Marlon
The Look of Silence

Top 10 Independent Films:
45 Years
Cop Car
Ex Machina
It Follows
James White
Mississippi Grind
Welcome to Me
While We’re Young


Wednesday, November 25, 2015

Debut Trailer for "Anomalisa" Arrives


Watch and share the trailer:

ANOMALISA will open in limited release December 30, 2015


Tuesday, December 9, 2014

Review: "The Spectacular Now" a Spectacular Love Story (Shailene Film Fest)

TRASH IN MY EYE No. 52 (of 2014) by Leroy Douresseaux

The Spectacular Now (2013)
Running time:  95 minutes (1 hour, 35 minutes)
MPAA – R for alcohol use, language and some sexuality - all involving teens
DIRECTOR:  James Ponsoldt
WRITERS:  Scott Neustadter and Michael H. Weber (based on the novel by Tim Tharp)
PRODUCERS:  Michelle Krumm, Andrew Lauren, Shawn Levy, and Tom McNulty
EDITOR:  Darrin Navarro
COMPOSER:  Rob Simonsen


Starring:  Miles Teller, Shailene Woodley, Brie Larson, Masam Holden, Dayo Okeniyi, Kyle Chandler, Jennifer Jason Leigh, Nicci Faires, Andre Royo, Bob Odenkirk, and Mary Elizabeth Winstead

The Spectacular Now is a 2013 drama and romantic film from director James Ponsoldt.  The film is based on the 2008 novel, The Spectacular Now, by Tim Tharp.  The film follows a hard-drinking high school senior whose life changes when he meets a nice girl, the kind he previously ignored.

Sutter Keely (Miles Teller) is a high school senior who likes to drink and party.  He is charming and self-possessed, and he lives in “the now.”  He is also a budding alcoholic.  After a night of drinking, he wakes up in someone's yard, and standing over him is Aimee Finecky (Shailene Woodley).  She is the nice girl who reads science fiction and manga (Japanese comics), and does not have a boyfriend.  Sutter and Aimee start dating, but while Aimee dreams of a future with him, Sutter is not sure what he wants, other than to live in the “spectacular now.”

Much of the attention about The Spectacular Now, when it was released last year, focused on rising star, Shailene Woodley.  And she is indeed spectacular here.  She is a natural talent, and she seems like a pure movie star.  Perhaps, the camera does indeed love her, but I am sure that my eye-camera loves her.  Woodley is sincere and refreshing and makes this film sincere and refreshing – different from so many other romantic teen dramas.

However, Miles Teller also gives an exceptional performance.  Sutter Keely has soul, and he makes The Spectacular Now a truly soulful film.  Sutter has substance; there is something inside him.  He is a three-dimensional character, fighting in conflicts and holding motivation, even when it seems as if he does not have any motivation.  Teller is also a rising star, and has been cast as Reed Richards/Mr. Fantastic in 20th Century Fox's reboot of its Fantastic Four film franchise.  Teller doesn't necessarily look like a leading man, but he has the talent to take him to leading man status.

The Spectacular Now is a surprisingly good film, mainly because of its romantic leads, Teller and Woodley, but there are plenty of good supporting performances – actors that add to this film's wonderful sense of naturalism.  The always-good Kyle Chandler makes the most of his screen time in a small role as Sutter's absentee father.  Chandler is intense and coiled, as if he is ready to explode or to strike.  It isn't a showy performance; rather, it adds to this film's overall quality.  The Spectacular Now is... well, spectacular, but in a subdued and inviting manner.  In the history of American cinema, it will go down as an authentic teen movie.

8 of 10

Friday, November 7, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

Thursday, December 29, 2011

Review: "eXistenZ" is as Crazy as Ever (Happy B'day, Jude Law)

TRASH IN MY EYE No. 32 (of 2004) by Leroy Douresseaux

eXistenZ (1999)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – R for strong sci-fi violence and gore, and for language
WRITER/DIRECTOR: David Cronenberg
PRODUCERS: David Cronenberg, Andras Hamori, and Robert Lantos
EDITOR: Ronald Sanders
COMPOSER: Howard Shore
Genie Award winner


Starring: Jennifer Jason Leigh, Jude Law, Ian Holm, Willem Dafoe, Don McKellar, Callum Keith Rennie, Christopher Eccleston, Sarah Polley and Oscar Hsu

eXistenZ is a 1999 Canadian/British science fiction film from director David Cronenberg. The film is set in the near-future and involves advanced video games and organic virtual realities. When Cronenberg, a surrealist and master filmmaker, tests the bounds of imagination, he makes you wonder if there really are any boundaries to imagination, or at least to his. With a filmography full of movies that are trippy experiences, it’s hard to pick out the craziest Cronenberg picture, but I’d say eXistenZ is safe bet.

Allegra Geller (Jennifer Jason Leigh) is the world’s best game designer, and her new game, eXistenZ, is a virtual-reality masterpiece. During a demonstration or, perhaps, beta testing, of eXistenZ, a crazed fan makes a peculiar attempt on her life. Ted Pikul (Jude Law), a marketing intern at the company for whom Allegra designs games, spirits her away from the scene, but though they escape the murderous attempt on her life, this is just the beginning of a strange trip that takes them both to worlds real, unreal, and maybe real.

The usual Cronenberg themes: bodily invasion, altered states of perception, and what is real are much in evidence, but like some of his best work, eXistenZ questions what effect technology has on the human body, mind, and spirit. Cronenberg also seems to question whether humans should change their bodies and the way they live to accommodate a technology that is of only the most frivolous use – entertainment-based technology. That question permeates almost every frame of the film, and adds weight to the drama.

Many of the performances are stiff, although deliberately so, but still it’s a bit too wooden and too cold. Sometimes the acting is all a bit too affected and too smart for its own good. Jude Law and Jennifer Jason Leigh, however, give, wildly spirited and inspired performances; even their odd and taut moments have a vivacious air to them. They’re fun to watch, and the pair has a screen chemistry the just screams that this is a mismatched matched pair. For some reason it works, and they look gorgeous on the screen, making this truly odd tale fun to watch.

The best way to describe this story is too say that it deals with virtual worlds and computer generated realities like The Matrix did. eXistenZ, however, is not about cardboard philosophy, wire-fu fight scenes, and pyrotechnics and special effects as sexy eye candy. This is The Matrix for smart people.

8 of 10

2000 Genie Awards: 1 win: “Best Achievement in Editing” (Ronald Sanders); 2 nominations: “Best Achievement in Art Direction/Production Design” (Carol Spier and Elinor Rose Galbraith) and “Best Motion Picture” (Robert Lantos, David Cronenberg, and Andras Hamori)

Saturday, July 9, 2011

Review: "Road to Perdition" is Powerful (Happy B'day, Tom Hanks)

TRASH IN MY EYE No. 95 (of 2003) by Leroy Douresseaux

Road to Perdition (2002)
Running time: 117 minutes (1 hour, 57 minutes)
MPAA – R for violence and language
DIRECTOR: Sam Mendes
WRITER: David Self (from the graphic novel by Max Allan Collins and Richard Piers Rayner)
PRODUCERS: Sam Mendes, Dean Zanuck, and Richard D. Zanuck
CINEMATOGRAPHER: Conrad L. Hall (D.o.P.)
EDITOR: Jill Bilcock
COMPOSER: Thomas Newman
Academy Award winner


Starring: Tom Hanks, Paul Newman, Jude Law, Jennifer Jason Leigh, Tyler Hoechlin, Daniel Craig, Liam Aiken, and Stanley Tucci

Almost everything about Road to Perdition is superfine, from the beautiful and evocative (to call it haunting seems trite) photography of Conrad L. Hall (for which he posthumously won an Academy Award) to the varied performances of the cast. In a broad sense, the film is about the relationships between men, specifically the father-son relationships that are made by birth or created by the bond of friendship. In a narrow sense, the film is about a boy coming to grips with loving his father despite his revulsion to his father’s profession.

The bonds of loyalty break when Michael Sullivan, Jr. (Tyler Hoechlin) witnesses a gangland killing perpetrated by his father Michael, Sr. (Tom Hanks) and Connor Rooney (Daniel Craig), the only son of his father’s boss. Daddy is a hitman/enforcer for John Rooney (Paul Newman), a mob boss. Connor initiated the brutal killings to cover his trail of deceit against his father. In a half-baked plan to cover himself, Connor kills Sullivan’s wife, Annie (Jennifer Jason Leigh), and younger son, Peter (Liam Aiken), and narrowly misses having Michael Sr. killed. Father and son Michaels take to the road while the elder Sullivan plots his revenge against Connor. That vendetta destroys the father-son relationship the Sr. had with John Rooney. To staunch the blood flow, the Chicago mob hires a talented hit man (Jude Law) to kill Sullivan and son.

Of the many quality elements that stood out in this film, the one that shined the most to me was Tom Hanks’ performance. No longer is he merely an actor, he is an artist: creating, communicating, and storytelling. In a way, his performance becomes symbolic of the character type for which he plays. Sullivan, Sr. isn’t a saint. He is, we must painfully admit, an evil man, who loves nevertheless loves his family and loyalty in that order. When his family is wrecked, his loyalty disintegrates, and all that he has left to love is his boy. Their time “on the run” is time best used to revealing that love to his son. This isn’t the script telling us that; it’s Hanks’ performance told through his facial expressions and in the tenor of his voice. Although the son is the film’s narrator, this is a story about his father and how the son comes to separate the man that is his father from the man who can be a cold, merciless killer.

This is a high quality Hollywood production that doesn’t break the rules. In fact, although Hanks is ostensibly a villain, the filmmakers quietly downplay his wickedness. The script is good, but relies on the audience’s familiarity with father-son relationships, stories about loyalty and betrayal, as well as viewers having an understanding how crime organizations work, at least from a Hollywood point of view. In Road to Perdition, we watch a talented director (Sam Mendes) work his actors (Paul Newman also turns in an excellent pathos-filled performance.) into making the familiar seem special, and that in itself is an accomplishment.

8 of 10

2003 Academy Awards: 1 win: “Best Cinematography” (Conrad L. Hall: Nomination and award were posthumous. His son Conrad W. Hall accepted the award on his behalf.); 5 nominations: “Best Actor in a Supporting Role” (Paul Newman), “Best Art Direction-Set Decoration” (Dennis Gassner-art director and Nancy Haigh-set decorator), “Best Music, Original Score” (Thomas Newman), “Best Sound” (Scott Millan, Bob Beemer, and John Pritchett) “Best Sound Editing” (Scott Hecker)

2003 BAFTA Awards: 2 wins: “Best Cinematography” (Conrad L. Hall: Posthumously) and “Best Production Design” (Dennis Gassner); 1 nomination: “Best Performance by an Actor in a Supporting Role” (Paul Newman)

2003 Golden Globes: 1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (Paul Newman)


Friday, December 17, 2010

Review: "Greenberg" is an Excellent Character Study

TRASH IN MY EYE No. 103 (of 2010) by Leroy Douresseaux

Greenberg (2010)
Running time: 107 minutes (1 hour, 47 minutes)
MPAA – R for some strong sexuality, drug use, and language
DIRECTOR: Noah Baumbach
WRITERS: Noah Baumbach; from a story by Jennifer Jason Leigh and Noah Baumbach
PRODUCERS: Jennifer Jason Leigh and Scott Rudin
CINEMATOGRAPHER: Harris Savides (D.o.P.)
EDITOR: Tim Streeto


Starring: Ben Stiller, Greta Gerwig, Rhys Ifans, and Jennifer Jason Leigh

Greenberg is the most recent film from filmmaker Noah Baumbach, the writer/director of the Oscar-nominated films, The Squid and the Whale and Margot at the Wedding. Greenberg focuses on a New Yorker returning to Los Angeles, the place where he grew up, to figure out some things.

Fresh out of a mental institution, 40-year-old Roger Greenberg (Ben Stiller) travels to L.A. to housesit for his brother, 15 years after he left the city. At a crossroads in his life, Roger, a carpenter, hopes to fix his wreck of life, while he fixes some things around his brother’s house. Roger meets his brother’s personal assistant, Florence Marr (Greta Gerwig), a sweet and considerate, but naïve 20-something. Roger needs Florence because he doesn’t drive, and the two begin an awkward relationship. Roger, however, has a quick temper, over-analyzes everything, and does not have a sense of humor when it comes to himself. Can Roger really fix himself?

Greenberg seems more like an extended chapter in a longer story than it does a self-contained film narrative. I have to give Baumbach credit for presenting a character like Greenberg who seems broken beyond repair and who is also funny, but mostly unlikable. I give him even more credit for writing a script and creating a visual narrative that makes Roger Greenberg so interesting and then dares to tackle his complicated ways.

Ben Stiller seems to shape his performance as Greenberg in a way to make readers always want to know more about the character, including his past and even his future. Stiller really sells the idea that Greenberg is broken and in need of repair. Greta Gerwig and Rhys Ifans are also quite good, creating engaging characters whose own stories matter well beyond their connections to the lead, Greenberg.

Like Baumbach’s other films, Greenberg is inimitably human, balancing the fragile with the sturdy and the mundane with the humorous. Baumbach and Stiller give us a wild adventure into the personality and connectivity turmoil of a complicated, complex character. The only problem is that sometimes, writer/director and lead actor hide too much of Greenberg’s nature and thoughts behind a wall of eccentric behavior and petulance. Still, such an all-too-human character in the cinematic world of vapid characters is welcomed.

7 of 10

Friday, December 17, 2010