It seems more like an illustration of his script than a full-fledged movie, proving how much he needs a Spike Jonze or a Michel Gondry to realize his surrealistic conceits.
Synecdoche, New York (2008)
Tomatometer
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Reviews Counted:31
Fresh:20
Rotten:11
Average Rating:6.5/10
Consensus: Charlie Kaufman's ambitious directorial debut occasionally strains to connect, but ultimately provides fascinating insight into a writer's mind.
Rated: R [See Full Rating] for language and some sexual content/nudity.
Runtime: 2 hrs 4 mins
Genre: Comedies
Theatrical Release:Oct 24, 2008 Limited
Box Office: $2,971,177
Synopsis:
Theater director Caden Cotard (Philip Seymour Hoffman) is mounting a new play.
His life catering to suburban blue-hairs at the local regional theater in Schenectady, New York is looking bleak. His...
Theater director Caden Cotard (Philip Seymour Hoffman) is mounting a new play.
His life catering to suburban blue-hairs at the local regional theater in Schenectady, New York is looking bleak. His wife Adele (Catherine Keener) has left him to pursue her painting in Berlin, taking their young daughter Olive (Sadie Goldstein) with her. His therapist, Madeleine Gravis (Hope Davis), is better at plugging her best-seller than she is at counseling him. A new relationship with the alluringly candid Hazel (Samantha Morton) has prematurely run aground. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one.
Worried about the transience of his life, he leaves his home behind. He gathers an ensemble cast into a warehouse in New York City, hoping to create a work of brutal honesty. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a growing mockup of the city outside.
However, as the city inside the warehouse grows, Caden's own life veers wildly off the tracks. Somewhere in Berlin, his daughter is growing up under the questionable guidance of Adele's friend, Maria (Jennifer Jason Leigh). His lingering attachments to both Adele and Hazel are causing him to helplessly drive his new marriage to actress Claire (Michelle Williams) into the ground. Sammy (Tom Noonan) and Tammy (Emily Watson), the actors hired to play Caden and Hazel, are making it difficult for the real Caden to revive his relationship with the real Hazel. The textured tangle of real and theatrical relationships blurs the line between the world of the play and that of Caden's own deteriorating reality.
The years rapidly fold into each other, and Caden buries himself deeper into his masterpiece. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems (Dianne Wiest), a celebrated theater actress who may offer Caden the break he needs.--© Sony Pictures Classics
Starring: Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener
Starring: Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Emily Watson, Dianne Wiest, Jennifer Jason Leigh, Hope Davis, Tom Noonan
Director: Charlie Kaufman
Director: Charlie Kaufman
Screenwriter: Charlie Kaufman
Producer: Anthony Bregman, Charlie Kaufman, Spike Jonze, Sidney Kimmel
Composer: Jon Brion
Studio: Sony Pictures Classics
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Release:
Mar 10, 2009
Reviews for Synecdoche, New York
A surreal exploration of art, love and death, it has the Fellini-esque feel of some lost European cinematic masterpiece that reaches far past the normal boundaries of drama and into the very essence of existence.
It's a strange trip, to be sure, but a worthwhile one for those willing to take it.
I found it bracing, and genuinely in touch with the sweet chaos and ache of life.
Synecdoche, New York is a huge film about puny sentiments, an anti-heroic epic of failure, remorse, alienation, and self-pity. It may not be the best film of the year, but it is very likely to be the most extraordinary.
The temptation to be emphatic about Synecdoche, New York is overwhelming but should be resisted, because the movie really is a mixed bag. A particularly odd mix.
I was struck by the peculiar magic of this film, even moved by it, once I gave up all attempts to understand it as a straightforward linear narrative.
It's hard to say just what kind of movie Charlie Kaufman's directorial debut is, and by the end of it, his film has made a pretty convincing case that it's pointless to try.
Synecdoche, New York comes as close as any film has to explaining the epic indignity of the creative process, how some great works collapse beneath their own abstraction.
The acting is magnificent, especially Hoffman's anguished, distracted, solipsistic portrayal of Cotard.
It takes enormous assurance and skill to pull off this kind of meta-story, and Kaufman succeeds; nothing in his direction says 'rookie.'
Mr. Hoffman is emerging as one of our greatest actors, and he alone makes this film worth seeing.
If you want to show a poor player that struts and frets his hour upon the stage, go right ahead, but give that hour all the life you can.
As with nearly all the films Kaufman wrote before this one ... Synecdoche, New York is one heck of a head-trip.
[A] sprawling, awe-inspiring, heartbreaking, frustrating, hard-to-follow and achingly, achingly sad movie.
As is typical of Kaufman, whether this surrealist, time-skipping noodler is successful depends on what you want to see.
It's the first movie this year that demands at least two viewings to absorb its densely textured humor, which makes earlier Kaufman works such as Adaptation and Being John Malkovich look positively straightforward.
Synecdoche, New York strives to be a work of greatness. But Kaufman's overarching vision is a lot less interesting than the small insights he gathers along the way.
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