Critic Consensus: This story of a floundering shoe designer who returns home for a family tragedy gets lost in undeveloped plot lines and lackluster performances.
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as Drew Baylor
as Claire Colburn
as Hollie Baylor
as Phil DeVoss
as Bill Banyon
as Heather Baylor
as Ellen Kishmore
as Jessie Baylor
as Uncle Dale
as Charles Dean
as Chuck Hasboro
as Aunt Dora
as Uncle Roy
as Aunt Lena
as Mitch Baylor
as Sad Joe
as Starstruck Kid
as Cindy Hasboro
as Another Cousin
as Staring Mona
as Star Basketball Player
as Desk Clerk Charlotte
as Crematory Concierge
as Helicopter Pilot
as Dock Worker
News & Interviews for Elizabethtown
Critic Reviews for Elizabethtown
The hero's nuclear family and kooky rural relatives are so sketchily conceived that none of the intended comedy works, and the balance of the movie is given over to one of Crowe's sugary romances.
So curious, and such a disappointment.
Crowe's capable of much better than this; let's hope he gets back on track with the next one.
The entire enterprise smacks of wish-fulfilment provoked by middle-age male guilt. Uplifting, it most certainly ain't.
The film's problems lie with the lack of spark between a wired Dunst and a bland Bloom.
Leaves one adrift on a raft of morose questions. How could this vacuous movie have got made? Didn't anyone at Paramount, which paid for the film, read the script? And also: What in the world has happened to Cameron Crowe?
Audience Reviews for Elizabethtown
Things I Liked About "Elizabethtown" Upon Second Viewing 1. Orlando Bloom's performance. Despite having contracted Orlando Bloom Fever at the beginning of his mainstream career, with each "Pirates" and "LotR" installment, I got wearier and wearier of his pretty boy, dainty-featured backpfeifengesicht - German for "a face in desperate need of a fist." I felt a bit of that repulsion in the first few minutes of this viewing, but I eventually made peace with the delicate flower of his visage and was really impressed with his acting, especially during the road trip montage when he's alternately crying and laughing to himself. 2. The heartwarming midwest community. I saw this for the first time in northern Virginia, so perhaps I didn't understand the midwest mentality until I lived in Indiana. My daily life isn't quite like the family portrayed here, but even I was moved at the sequence of Drew first driving into Elizabethtown and seeing everyone waving and smiling at him with faces of seeming recognition, welcoming back the Prodigal Son. 3. The memorial ceremony turned into raucous fire and blazes, accompanied by Ruckus's indomitable cover of "Free Bird." 4. Claire's thought and effort of creating an emotional road trip for Drew to scatter his father's ashes. Things I STILL HATE About "Elizabethtown" Upon Second Viewing 1. Kirsten Dunst. I didn't find her or her character, Claire, charming, cute, deep, or romantic (like NaPo's Sam in "Garden State" and even she's only likeable in small doses). "Elizabethtown" came during that dryspell after Kiki had outgrown her lost prodigy depth and bubbly cheerleader charm - which yielded such lifeless and/or annoying performances as in "The Cat's Meow," "Spiderman," "Eternal Sunshine," "Wimbledon," and this - and before she rebirthed herself as melancholic muse for the likes of Sofia Coppola and Lars von Trier. Her Kentuckian accent is terribly...not, and she plays Claire as much too self-deprecating (half-laughing through the big "I like you!" line), as if the actress didn't even buy the character's quirkiness. Claire herself is just a girl. She recites some manic pixie dreamgirl juxtapositions that seem delightfully incongruous, but then prove to be ACTUALLY incongruous and faux-inspired, e.g. "I'm impossible to forget, but I'm hard to remember." "Men see things in a box, and women see them in a round room." Is she? Do they? 2. The so-called fiasco involving Drew's shoe design. There's so much pretentious, aphoristic talk about fiascos and failures, but what exactly WAS the fiasco? What was wrong with the shoe? How could such a promising young podophile possibly think this vaguely Skechers Shape-Up prototype would work, and how did no one else notice its Achilles' Heel, if you will? The fact that none of this is ever revealed shows how little legitimate research on the shoe industry Cameron Crowe did. For one, it's lazy writing and directing. For two: see below. 3. The light treatment of suicide. This needn't have been a sadder movie, but it IS realistic at least, for all intensive porpoises. Without the grounding exploration of what failure means in the shoe industry, Drew's subsequent obsession with suicide is purely comical and absurd, not intellectual or existential. I'm never actually worried for or in suspense about his mortality. Also, the repercussions of the fiasco are only limned in monetary terms. Drew never expresses critical doubt about his mental, intellectual, social or self worth, which are more compelling problems than just the Benjamins. Even after Claire admits her burgeoning feelings for him, his immediate response is to blithely cite his date with destiny? Suicide's just a quirky appointment, not something that he is seriously debating cuz I'm sure after meeting his manic pixie dreamgirl, he'd be more apt to wine and dine the girl, not slice and dice his veins. 4. Hollie's tap dance. Okay, I normally love DANCE in movies, but I just wish this number was a little better. I know Hollie had just learned to tap dance on a whim in her grief, but the choreography was more soft shoe than tap. After her standup routine (which I didn't like although I do understand its purpose of diffusing grief), I just wasn't moved or impressed by the dance, and I wanted either more emotion or better execution. 5. The "last look" at the memorial. I was already irritated by the quirkiness of Drew "collecting last looks" and Claire clicking her mental camera, and Crowe managed to mess it up in the one place it could work. Amid the smoke, sprinklers, and Skynyrd, Drew looks up to the stage one last time, presumably at the sad but oddly jubilant tableau of his father's smoldering portrait and this utter shitshow, and thinks that this is a good last look, only to reveal Claire as the subject of his observation. It's not even that good of a last look, and it's clearly not the last time she'll be seeing him. I could buy it if it was a goodbye to his father and to the vagaries of the midwest. 6. The fact that everyone loves the soundtrack. I think it's overrated. Many of the songs sound like the same indie moaning. I prefer "Vanilla Sky"'s soundtrack.
This is my second time watching this and 1 hour in I am removing this from the DVD player and my collection. It totally bores the hell out of me. I like Kirsten Dunst, and she is charming here as Clare, but it is not enough to save this film and she's not in it enough. Unconvincing on almost every level, Orlando cannot hold a film for two hours.
The movie sucked and made kittke sense by the soundtrack was excellent, shame James Brown with thats life didn't make the sound track. Movie gets 2 stars, Soundtrack gets 5 stars
|Drew Baylor:||I'm fine.|
|Claire Colborn:||We're the substitute people, remember?|
|Claire Colborn:||You want to be really great? Then have the courage to fail big and stick around! Make them wonder why your still smiling.. That's true greatness to me. But, don't listen to me, I'm a Claire.|
|Drew Baylor:||Well, Thank you Claire..|
|Claire Colborn:||You're welcome. If you quit trying to break up with me. You're always trying to break up with me. And we're not even together.|
|Drew Baylor:||I know. Wait, we're not?|
|Claire Colborn:||Of course not. We're the substitute people remember?|
|Claire Colborn:||I'll miss those lips and everything that is attached to it.|
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