The Color Wheel (2012)
The Color Wheel is the story of JR, an increasingly transient aspiring news-anchor, as she forces her disappointing younger brother Colin to embark on a road trip to move her belongings out of her professor-turned-lover's apartment. Problem is, these grown up kids do not get along, and are both too obnoxious to know better. Chaos and calamity are not far behind her beat up Honda Accord. Too bad that nobody else in the world can stand either of them. Not Colin's neglectful girlfriend, nor JR's former high school friends, nor strangers they clash with at pretty much every step of their hopeless and increasingly infuriating voyage of frustration, failure and jerks. It can only be a matter of time before JR and Colin arrive at the strangest and most unsettling of resolutions and put to rest their decades of animosity, half-baked sibling rivalry and endless bickering. -- (C) Official Site … More
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Critics Consensus: Battleship Is All Wet
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Critic Reviews for The Color Wheel
"The Color Wheel" partially recalls the scathing audacity of "The Graduate" some 45 years ago.
You might not "like" Perry's movie, but it's hard to deny the forensically assured sensibility at work.
Perry and co-writer/star Carlen Altman are Colin and J.R., the most loathsomely lovable brother-sister duo in the history of cinema.
A deceptively shambling, post-mumblecore road trip through dark comic territory.
Altman and Perry manage a teasing banter that's true to most brother-sister relationships, while also hinting at an additional edge.
Alex Ross Perry's The Color Wheel begins as a scrappy, antagonistically funny road comedy and ends as something altogether stranger.
The Color Wheel requires a brand of empathy mainstream audiences are unaccustomed to, but rewards it with nearly revolutionary insight.
It's so rare to see something this scathing and sweet and strange that I have to recommend it enthusiastically.
The film's out-of-nowhere shock value conclusion suggests that Perry and Altman were really at a loss as to how to tie everything up.
The result is a thorough examination of a generation-specific collective anxiety about doing anything, and of whether it's possible (or even worthwhile) to try to redeem oneself in a world gone ornery.
There's handmade and then there's amateurish. This, alas, is the latter.
A feat not only of filmmaking but of the mind's ability to deflect what it doesn't want to accept.
The playacting and oddly veiled contempt evoke Who's Afraid of Virginia Woolf? (if rewritten as a comedy about immaturity and starring tweens) while the quick-and-sharp sibling dynamics are like the Duplass Brothers on lemon juice.
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