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Once Upon a Time In Hollywood
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This really won me over with the persistent gut punching to all nerds and the Walken-in-Annie-Hall-esque speech by the lady on the bench.
A weird movie that was clearly a major influence on Wes Anderson and the like. The working mans Whit Stillman.
Pregnant high school girl and occasionally suicidal chain smoker find comfort with each other in that they both come from dysfunctional homes. Never quite understood why all characters spoke in monotone voices. Another darling of the film festival tours that lacks much appeal outside of the artsy crowd.
Well this film has taken nigh on two weeks and three sittings to finally get through.
It is a 1990 film that is meant to satarize US lifestyle. In the event it comes across as a poor mans version of Jeremy Kyle USA!
Director Hal Hartley tells us the story of misfits Maria (Adrienne Shelly) and Matthew (Martin Donovan). Recognise them? Me neither. Probably extras on Freinds or something.
Maria is a teenage brat for want of a better word who announces to her distraught family at the start of the film she is dropping out of school to have a baby.
Unfortunately her sports mad boyfriend doesn't take to kindly to the news and dumps her. Any sane person would think this was horrific but Maria's bratish behaviour does cause her despairing dad to have a heart trauma and die.
She is thrown out of home for her actions.
Meanwhile cut to a character called Matthew (Martin Donovan) who lives alone with his overpowering dad and gets through jobs like there is no tomorrow.
Matthew and Maria end up meeting up......oh I give up!
The satirical comedy I didn't find particularly funny. The age differences between Matthew and Maria and their struggles with power crazy parents.
Independent film written and directed by Hal Hartley. Features over 100 minutes of relentless monotone and emotionless dialogue; keeping the viewer at a distance from the characters. Naturally, this offbeat film scored several awards at the film festivals.
Hal Hartley's offbeat black comedy features a good central performance from Adrienne Shelly, but the film offers little else which sticks in the memory.
While Hal Hartley's first film, The Unbelievable Truth, was certainly an idiosyncratic and fully encompassing debut film, his sophomore feature is an even more potent offering. Like the majority of his early work, Trust is a blackly funny portrait of the woes of suburbia, only the characters are even more complex here then in his other work. The interactions and relationships his characters have are as nuanced as they are neurotic, and it's an astonishment how they are able to transgress from being despicable to sympathetic so seamlessly. A one-of-a-kind cast too, even if the film is now a sad reminder that the late Adrienne Shelly really was a match-made-in-heaven for Hartley's sensibilities. Most likely the director's best film, and one of the best comedies of the 90s.
I did like this for the most part, but there were times when the quirkiness crossed the line from charming to eye-rolling self-parody. His violent, misunderstood genius is such blatant nerd wish-fulfillment, and she sleeps on the fucking floor. The acting usually compensates but sometimes it's just too much. Edie Falco is my favourite part even though she only has one really great scene and then is pretty much wasted for the rest of the movie.
Hartley does an outstanding job writing a script is full of details and great dialogs that make the unlikely love story work. But he fails in the direction, which is consciously simple and plain. Shelly and Donovan's interpretations sustain the movie.
It's a typical LOVE story, Cut the crap.
One of Martin Donovan's finest moments.