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Love Liza (2002)
Tomatometer
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Reviews Counted:24
Fresh:13
Rotten:11
Average Rating:5.6/10
Consensus: Hoffman's performance is strong, but the lack of character development and story arc makes Love Liza unsatisfying.
Rated: R [See Full Rating] for drug use, language and brief nudity
Runtime: 1 hr 33 mins
Genre: Dramas
Theatrical Release:Dec 30, 2002 Limited
Synopsis: Wilson Joel's (Philip Seymour Hoffman) wife, Liza, has committed suicide, leaving behind a note that he can't bear to read. He tries to go about his usual routine, but when his coworkers start to... Wilson Joel's (Philip Seymour Hoffman) wife, Liza, has committed suicide, leaving behind a note that he can't bear to read. He tries to go about his usual routine, but when his coworkers start to worry about his erratic behavior, they convince him to take a leave of absence to deal with his loss. Liza's mother (Kathy Bates) offers support to Wilson, but when she finds out that he won't open the note, their relationship turns sour. Wilson's life becomes even more tragic when he begins sniffing gasoline as a means to dull his pain, explaining his gas consumption as the result of his interest in model airplanes. A film about grief that provides no easy answers, LOVE LIZA showcases an exceptionally strong lead performance by Hoffman. Wilson's misguided grieving process may be difficult viewing for some, especially during moments which come off as absurdly comic (cued by Jim O'Rourke's superb bossa nova influenced score). But under the direction of first-timer Todd Louiso, this very subtle and deliberately paced work will reward anyone willing to go to the often uncomfortable places it reaches. The strikingly original screenplay by Gordy Hoffman (brother of the film's star) was the winner of the Waldo Salt Screenwriting award at the 2002 Sundance Film Festival. [More]
Starring: Philip Seymour Hoffman, Kathy Bates, Erika Alexander, JD Walsh
Starring: Philip Seymour Hoffman, Kathy Bates, Erika Alexander, JD Walsh, Jimmy Raskin, Jack Kehler, Sarah Koskoff
Director: Todd Louiso
Director: Todd Louiso
Screenwriter: Gordy Hoffman
Producer: Ruth Charny, Chris Hanley, Jeff Roda, Fernando Sulichin
Studio: Sony Pictures Classics
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Reviews for Love Liza
Largely this sad story is handled with a morbidity and monotony that go nowhere -- certainly not toward understanding.
This is a film that succeeds on the strength of its acting, which is uniformly brilliant.
A showcase for an actor's actor rather than as a drama that engages our hearts.
The script isn't very good; not even someone as gifted as Hoffman (the actor) can make it work.
This is a nicely handled affair, a film about human darkness but etched with a light (yet unsentimental) touch.
Despite Hoffman's best efforts, Wilson remains a silent, lumpish cipher; his encounters reveal nothing about who he is or who he was before.
There is a kind of attentive concern that Hoffman brings to his characters, as if he has been giving them private lessons, and now it is time for their first public recital.
Louiso has a confident touch and a good eye, and there isn't a scene in the film that wasn't intelligently done.
Oddly, the film isn't nearly as downbeat as it sounds, but strikes a tone that's alternately melancholic, hopeful and strangely funny.
Louiso lets the movie dawdle in classic disaffected-indie-film mode, and brother Hoffman's script stumbles over a late-inning twist that just doesn't make sense.
Hoffman is understandably concerned about typecasting, but he is indeed the man for the job, recalling the intensity that Nicholas Cage brought to an Oscar-winning performance in Leaving Las Vegas.
This isn't an uplifting nor a profoundly memorable film, but it's honorable and honest enough to face a truth that Hollywood movies rarely deliver: that life sometimes deals us injuries from which we never recover.
Love Liza doesn't so much dramatize one character's process of mourning as string together arbitrarily strange scenarios that allow a performer to perform.
Lisa Rinzler's cinematography may be lovely, but Love Liza's tale itself virtually collapses into an inhalant blackout, maintaining consciousness just long enough to achieve callow pretension.
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