Nobody Walks (2012)
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Critic Reviews for Nobody Walks
This dreary independent drama is essentially an art-world soap opera, but without the melodramatic verve that makes some soap operas interesting.
What we have here is a household ripe with seduction, lust, betrayal and repression, all kept below the surface by increasingly strained good manners.
...a self-important nightmare ... shallow script and boring situations. Perhaps that is the simplest way to sum up the film, boring. Offensively boring.
The direction is decent, and the film is handsome. But it's finally frustrating, enigmatic in a way that suggests emptiness more than mystery.
Audience Reviews for Nobody Walks
Co-written by Lena Dunham and director Ry Russo-Young, this is a little indie film that could have been something great, but is instead something greatly terrible.
This artsy and poetic film is about Martine- a young woman who comes to L.A. to finish work on an experimental art film. She is staying in the pool house of Peter and Julie, who are helping her out as a favor to a mutual friend of theirs and Martine's. Peter is a sound designer whose expertise could prove invaluable to Martine's project. But, her arrival shakes things up more than expected, and it becomes a situation that no one will emerge from unscathed.
I really wanted to like this film, because I thought it looked really engaging. Instead, this ends up being a slow, boring, meandering, and pretentiousness slog through a tedious melodramatic situation. It's artsy and poetic, but not really meaningful. It's adds up to basically nothing, and, for an 85 minute film, it's also got a really unnecessary subplot that could have been greatly condensed, if not axed completely.
The film is well shot, yeah, I'll give it that, but it's ultimately hollow and pointless. The characters are all pretty much unlikable, but yet, I thought that the performances were actually okay, which is a shame since the movie itself is awful. It's good to see John Krasinski expand his range, but it sucks that this is now a part of his legacy. Same with Olivia Thirlby. I've always dug her, but this is an embarrassment.
Rarely do I give reviews this negative, but I couldn't help it here. This was just a real disappointing chore to get through, and I really urge you to avoid it.
"Nobody Walks is a artsy film that is suppose to be poetic and meaningful. I got the atrsy part and even the poetic part. The meaningful part is what I am having problems grasping. The film is pointless and has no real conclusion. Some films can work with just being that. This one, not so much. It's basically about lust and betrayal. A girl moves in with the family, there on business, ends up being a little whore messing around with just about every male she encounters. Olivia Thirlby plays Martine, a very unlikable character. I just didn't like her at all in this. Although, I did enjoy the performance from some of the actors, like John Krasinski and India Ennenga. She's a good little actress. The movie is obviously one I wouldn't see again. It's a shame. I usually really enjoy artsy indie flicks. But this one just didn't do it for me."
In "Nobody Walks," Martine(Olivia Thirlby) travels to Los Angeles where she stays with Miriam(Rosemarie DeWitt), a psychologist and friend of a friend. Actually, her business is with Miriam's husband Peter(John Krasinski), a sound engineer, who is helping her with her artwork. Otherwise, everybody is busy. Kolt(India Ennenga), Miriam and Peter's teenage daughter, is ignoring Avi(Sam Lerner) in favor of nursing a crush on David(Rhys Wakefield) while she also takes Italian lessons. And Martine has her hands full with Billy(Justin Kirk), a particularly troublesome patient.
"Nobody Walks" is a well-photographed film wherein I learned something about sound engineering for films. It also sports a very good cast, especially a usually underutilized Olivia Thirlby in the lead. It also has a sluggish pace. That might be to cover up how little it really has to say on the subject of how women are sexually harassed everyday. Part of that is due to a half-hearted approach that begins awkwardly enough with the opening sequence between Martine and a fellow passenger that because the movie joins them mid-conversation only serves to confuse matters. Plus, Martine is cast in the cliched role of domestic intruder, thus implying that some of it is actually her fault.
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