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Juliet, Naked is the story of Annie (the long-suffering girlfriend of Duncan) and her unlikely transatlantic romance with once revered, now faded, singer-songwriter, Tucker Crowe, who also happens to be the subject of Duncan's musical obsession.
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Thomas Webb, the son of a publisher and his artistic wife, has just graduated from college and is trying to find his place in the world. Moving from his parents' Upper West Side apartment to the Lower East Side, he befriends his neighbor W.F., a shambling alcoholic writer who dispenses worldly wisdom alongside healthy shots of whiskey. Thomas' world begins to shift when he discovers that his long-married father is having an affair with a seductive younger woman. Determined to break up the relationship, Thomas ends up sleeping with his father's mistress, launching a chainin of events that will change everything he thinks he knows about himself and his family. Wow!Written by
Screenwriter Allan Loeb had been living in Los Angeles for a decade, trying to make it as a writer with little success. He was days away from giving up when producers Albert Berger and Ron Yerxa spotted his screenplay for "The Only Living Boy in New York" and expressed interest in producing the movie. See more »
The letter sent to Thomas by the Penguin Group at the end of the film has a typo in it: where it reads 'I with you every success with your book...' should actually be 'I wish you every success with your book'? Didn't expect that from the 'Penguin Group'. See more »
[Giving a wedding toast]
I'm Uncle Buster... Walter's not here because... He's doing two to five. It's no secret. 'Cause, you all know, two to five, for doing the right thing. For believing in the poetry of the constitution. I have only a few thoughts... Drama... Dramatics of marital romance. Staying together. Like the gypsy... told me the poems, written in life lines are never guaranteed. They get busted up. Its moral begins new poetry. Another romance that will explode from time to time... ...
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Greetings again from the darkness. When a movie borrows its title from a great Simon and Garfunkel song, and then utilizes the song to emphasize a point during the story, we can't help but have high expectations. This is often true even if it appears we are likely to be subjected to yet another movie featuring the all too familiar ground of New York intellectuals brewing and stewing their own problems. Director Marc Webb (500 DAYS OF SUMMER, GIFTED) delivers the type of film that critics tend to rip, and audiences like to watch.
Much of the story seems familiar, but the excellent cast prevents the clichés from being overly distracting. Callum Turner stars as Thomas, an aimless writer-wannabe and recent college graduate with daddy issues. Thomas spends his time dreaming about what he might be and pining for the beautiful, intelligent girl with whom he hangs out. It's understandable why Mimi (Kiersey Clemons) has friend-zoned him, since she has ambitions and goals, while he mostly just talks and drifts through each day. One evening while enjoying their conversation over drinks, Thomas spots his dad getting beyond "friendly" with a beautiful young woman in a corner booth. This is upsetting because Thomas' parents are still married, and his mother is at home working through clinical depression.
Ethan (Pierce Brosnan) is a well-known publisher and Judith (Cynthia Nixon) is an artist in a fragile state. As with most self-centered twenty-somethings, Thomas has just assumed the marriage was fine and their family fell into the "normal" range of dysfunction. It's about this time when the movie assumes the tone of a Woody Allen movie. Thomas turns detective and begins following the mysterious beauty from the booth, and their first encounter is a bit awkward. He finds himself mesmerized by Johanna (Kate Beckinsale). She's the stuff that dreams (and fantasies) are made of for both fathers and sons.
Johanna is really the second spell that Thomas has fallen under. His neighbor W.F. has been providing sage advice on love and writing. It's yet another terrific performance from Jeff Bridges, who plays the alcoholic mentor with secrets of his own. See, every character here carries the weight and burden of their own secrets and plays games in every relationship. In fact, much of the movie plays like group therapy – two characters at a time.
No superheroes exist in this world. There are no car chases or guns, and the only knife is used to slice strawberries in the kitchen. The movie could be described as a coming-of-age story; however, it's not just Thomas that has growing up to do. A deeper message is on display for those who take notice. Every person and every family has secrets, and many people find an inability to be honest and open to be a much simpler way to go through life. We know that people aren't always good – even when we really want them to be.
Of course, we do get the obligatory dinner party with a table full of New York intellectuals (including Wallace Shawn) reminiscing about what a great city it used to be. Actually, nostalgia is an underlying theme throughout. The dinner party does provide Thomas the opportunity to drop the best 'Philadelphia' line since W.C. Fields. The script provides some other quality lines, and though it's certainly not at the level of Whit Stillman or Noah Baumbach, it marks a step up for writer Allan Loeb, who is renowned for such lackluster efforts as COLLATERAL BEAUTY, THE SPACE BETWEEN US and JUST GO WITH IT. He likely owes director Webb and cast a debt of gratitude.
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