Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (28)
| Top Critics (5)
| Fresh (24)
| Rotten (4)
| DVD (1)
A rather superficial and limited probe of American male sexual hypocrisies.
The picture has its moments of chilling insight, though essentially it is one more quaint early-70s stab at an American art cinema that never materialized.
This was never quite the major assault on sexism and male chauvinism it set itself up to be.
Stays within the universe of its characters, and inhabits it totally. And within that universe, men and woman fail to find sexual and personal happiness because they can't break through their patterns of treating each other as objects.
In addition to being the toughest comedy since Little Murders, and the most imaginative comedy since Catch 22, Carnal Knowledge represents a nearly ideal collaboration of directorial and writing talents.
Frank '70s coming-of-age tale has lots of sex, profanity.
... an acerbic and, in many ways, dispiriting portrait of masculinity and male sexuality in the post-World War II culture.
A pretentious and uneven provocative moralistic adult drama about coping with the "sexual revolution" among the middle-class males.
Ah, the sweet smell of '70s American cinema when anything was possible.
Deeply felt critique of middle-class sexual politics, and one of the better films of formerly interesting director Mike Nichols.
Misunderstood by critics and viewers, Nichols' satire of male chauvinism is by turns witty, provocative, funny, and depressing. The film was so controversial in 1971 that it went all the way to the Supreme Court for obscenity charges.
I can't believe it took me so long to get to what was once must-see viewing back in the day, but at least now I know what all the fuss was about. Jack Nicholson owns this bit about life in the free swinging early 70's, where "making it" was more important than keeping it, regardless of the consequences. Nicholson represents those as well, oblivious as to why he's so fuggin' miserable. The rest of the cast is good, but Ann-Margret rules as the woman trying to be all things in the maelstrom of changing paradigms those days embodied.
Incredibly and despicably cynic, and also quite true, because that's exactly how we talk about the opposite sex, one of us is either Nicholson or Garfunkel, but by the end both are two sides of the same coin in an aimless search for settling down with a saint in society/whore in bed type of so called "perfect" female companion, The tone is fascinating, directing and acting-wise, Nichols' mise en scene borrows heavily from Italian psychosexual dramas and french nouvelle vague. A great approach, attack, pulverization and then rebuilding of a man's ego.
Both sexually exploitative and immature in their own ways, two men navigate changing sexual mores during the sexual revolution.
I always thought that Closer was the meanest film ever made, certainly the meanest in Mike Nichols's canon. Now that I've seen Carnal Knowledge, I think Closer might have found its match but not its better. Exploring themes of lust and betrayal, Carnal Knowledge centers on the lives of two men, played by Jack Nicholson and Art Garfunkel, who resort to sex and sexual relationships to determine their self-worth. They wonder if the relationships they've had precluded them from other experiences, and what the film amounts to is a perception that no matter what path we choose, we're doomed to regret and a paralyzing lack of fulfillment.
Nicholson's performance is one of the best of his career; the argument between his character and Bobbie is up there with the best moments he's ever put on film. Ann-Margaret is also incredible, and Garfunkel surprised me with his lonely, awkward naivete.
The script is also superb with such great lines as Sandy claiming that a woman is doing him a favor is she sleeps with him and of course, "I'd almost marry you if you leave me."
Overall, like Closer, this is a love story for adults -- cynical adults who know that the rules of engagement are always changing and often aggressive.
Nicholsan's portrayal of a bastard is spot on.
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