How do I know? How do I know what fascinates us in this film? How much is the cinema, or our tendency to love the stories, which urges us to appreciate this movie? Formally, nothing, light syrup, libidinous music never ceasing to rub his hairy legs clad buttocks of emotions that the scenario already outlined clearly avalanche of big plans and grimaces signifying little ugliness scattered here and there that are like the mouth of a river where they would fly the musty relics of a civilization. Because this film seems to be abandoned. A palace (the scenario luxurious, precise, rich, superb) that staging would have deserted, but where would drag a few players not sure that the camera rotates (Jack Nicholson in the first place, sometimes brilliant, but almost by accident, sometimes completely off the plate) - with the exception of Owen Wilson and Kathryn Hahn, who benefit from the desertion of the film by the director to impose their rule-out standard.
question that does not change the film but we can afford to put as the answer seems loaded with meaning:
why coach Reese Witherspoon Is not openly lesbian? Answer
loaded with meaning: because
the film is for everyone.
vicious Question:
what "everyone"? Answer given by
disgusting movie: a bunch of idiots
subject to television conventions in search of intelligent entertainment but normative. If
Reese Witherspoon embodies a sport is because it has a perfect knowledge and mastery of his facial muscles, it contracts or expands independently of each other so as to always put up a mask that fool most cantankerous any form of understanding will decipher and connect to major axes of the story is told him.
Where we talk about classic Hollywood (Lubitsch, Leo Mac Carey, Billy Wilder are the names mentioned about how to know), I see only one frame television cadaveric matched the best episodes of Sex and the City . Which speaks discreet, me see instead a big machine making a grueling meaning already given - to redouble machine therefore.
Nevertheless, yes, it's a nice story, with which one can dream. A woman must choose. One man or another. The first man is a child who chooses grow. The second is a son who is one of love and go after this love. The woman is a big girl who seems to have become great by itself and suddenly realizes, after a professional disappointment, shreds of his remaining child, the adult mask begins to crumble.
film placed under the figure of the double: Paul Rudd is too similar to Reese Witherspoon that he likes the first time (he cracks his jumping to the figure in the first appointment), Owen Wilson does the same job it but has nothing to do with it (and its difference excites absolutely, she wants to change his life, and mind, and so to speak). At the bedside
Kathryn Hahn who has just given birth, her friend asks her to marry. Paul Rudd was supposed to film. But he has not pressed the right button. Be repeated. Repeat each phrase, helped by those who were present in the room, to find the groove of the emotion that was born. And reiterated this request in marriage is no longer an isolated story, but spreads in the mouths of those who attempt to reconstruct (Paul Rudd and Reese Witherspoon, so). Finally double perspective: Reese Witherspoon, whose marriage proposal scene in Walk the line with Joaquin Phoenix made us shed a few tears, reflected by a spectator of such a scene.
Beautiful as the world turns in unison with the feelings and lives of heroes: it is a porter shooter string, or a bus that comes too quickly and then agrees to stop longer than expected to leave the story of two people take a different turn, everyone gets started, everyone celebrates this comedy that gradually takes just as important as lightness.
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