It's that rare bird in our debased pop culture that gives you something to chew on when you leave the theater besides where to go for dinner.
Synecdoche, New York (2008)
Tomatometer
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Reviews Counted:163
Fresh:109
Rotten:54
Average Rating:6.6/10
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
Like most of Kaufman’s work as a writer, Synecdoche, New York is a head trip that time and again returns to a place of real human emotion.
For a film that desperately wants us to empathize with its main character's plight, Kaufman's inability to reconcile his overambitious gimmickry with the story's emotional demands is a fatal flaw.
Pretentiously convoluted...in the case of Synecdoche, New York--to garble Plato's version of Socrates--the examined life is not worth watching.
A lot of thought may have gone into constructing this intricate, remotely clever, but ultimately dour and depressing, directorial debut from Charlie Kaufman, but it probably wasn't worth the effort.
Kaufman's meta-meta mind-boggler is, ultimately, far more heady and haunting than maddeningly egocentric.
Pity those nerds and fashion-sheep who'll waste time trying to connect Kaufman’s symbols, cite the many David Lynch references and puzzle for ways to use 'synecdoche' in daily conversation.
I gave up making heads or tails of Synecdoche, New York, but I did get one message: The compulsion to stand outside of one's life and observe it to this degree isn't the mechanism of art -- it's the structure of psychosis.
It’s a writer’s film, and Kaufman doesn’t have the chops to turn his ironies into affecting drama. But the sheer scope of his conception is breathtaking and commendable.
No matter how bad you think the worst movie ever made ever was, you have not seen Synecdoche, New York. It sinks to the ultimate bottom of the landfill, and the smell threatens to linger from here to infinity.
It's the best American film of 2008 to date, and probably of 2007 and 2006 as well.
It’s heartbreaking how rich this failed project is, with enough poetry for several great movies, but not enough push for one.
The artistic psyche has never been more joylessly explored than in Synecdoche, New York, the gallingly undisciplined directorial debut of revered screenwriter Charlie Kaufman.
Kaufman directs this sprawl of ideas, twisted chronologies and bitter regrets with a tightly disciplined control of the material.
A sprawling, messy work of inspired brilliance and real humanity, a film that enthralls and affects even as it infuriates and confounds.
As the external reality disappears, so does the viewer's reason to care.
The truly committed will find something redeeming in this jumble, but the payoff isn't really worth the slog of getting there.
If you share a taste for Kaufman's bizarre formulation of human and theatrical experience you'll appreciate his mixture of illusion with failure, the unkept promise of genius, the residue of defeat, disappointment and melancholy.
If Kaufman, like his protagonist, can't satisfactorily realize his masterpiece, it's not due to a lack of effort.
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