Seduced And Abandoned (2013)
Average Rating: 6.6/10
Reviews Counted: 33
Fresh: 28 | Rotten: 5
No consensus yet.
Average Rating: 7.6/10
Critic Reviews: 10
Fresh: 9 | Rotten: 1
No consensus yet.
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User Ratings: 421
Actor Alec Baldwin and filmmaker James Toback explore the culture of cinema by canvassing the 2012 Cannes Film Festival for financial backing for their update of "Last Tango in Paris" set in Iraq in the 21st century, pitching their idea to industry big shots such as Mark Damon and Avi Lerner, and interviewing Martin Scorsese, Francis Ford Coppola and others about their love of film. ~ Perry Seibert, Rovi
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Baldwin and Toback make a snappy comic duo, and half of their talks with a line-up of luminaries focus on the art of filmmaking rather than the business.
A fun, larky travel essay and commentary on the film biz, an exquisite wallow in the most rarefied sort of first-world problems.
Ironically, the failure of the financing mission gives [it] a sharper edge. But in the end, that edge will probably be of more interest to Baldwin, Toback and the film biz than to a civilian, who mostly wants to know why she can't find a decent rom-com.
Toback's directorial intuition proves to be spot-on: their self-revealing brave face on humiliation and despair is deeply cinematic.
This one seems to effortlessly breathe on its own as a buddy/buddy "road picture" with scenic pathways, a few dead ends and refreshing breezes throughout.
The fact that it is so funny eventually becomes strangely sad, which makes the film thoroughly enjoyable but also irresistibly provocative.
Even the overarching quasi-comic format is old hat, having been done far better by Morgan Spurlock in The Greatest Movie Ever Sold.
Although this isn't as cinematic as Keanu Reeves' Side by Side, last year's documentary about the industry's transition from celluloid to digital, it feels honest,
It feels honest, with Baldwin admitting he's sometimes trusted people he shouldn't have.
Anyone interested in how movies get made will love this feisty behind-the-scenes documentary, which uses sharp comedy to explore the messy business side of cinema.
Explores the present-day realities of film financing and offers insightful comments on the film industry in general, as well as a meditation on the power of cinema and death itself.
Jolly good fun, even if it doesn't exactly manage to fulfil its wonky remit.
The film becomes a platform for actors to politely vent on their impotence, and for short-sighted bankrollers to pass the buck to the movie-going public for their lack of cojones.
The results are revealing rather than revelatory, but chats with Ryan Gosling and Coppola, Scorsese and Polanski flesh out the fun.
Jollied up with some fun anecdotes from Hollywood's great and good, this is entertaining, if hardly hugely revelatory stuff.
An entirely odd but nonetheless endearing sort of valentine to the madness of movies in general and the dizzying swirl of Cannes much more specifically.
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