All of the major talent clocks in with their personal
observations about making the film, including writer Elmore Leonard.
Not exact matches
And while most screenwriters or directors would
make that the entire premise of their
film, Holofcener proves once again why her
films feature some of the most satisfying and well drawn
observations about men and women and how they relate.
The featurette is that (overemphasizing some minor contributions), but there are also some interesting grander
observations made about the
film.
Much as I'm a great admirer of Chekhov and I do regard him as an ancient influence in some way, I never really thought
about Chekhov until we'd
made the
film and people started to
make this
observation.
It's rare for a
film in any genre to valorize writing poetry and literacy, and rarer still for a
film essentially
about nothing to sport so many moments of genuinely fruitful
observation in its interpersonal interactions, which
makes the picture's flights of fancy feel the more unnecessary.
Given Idris Elba's recent
observation about the glass ceiling faced by black actors in England, it's nice to see
films like this being
made (although it should be noted that although it's an English - Nigerian co-production, it was
filmed in Nigeria at writer Biyi Bandele's request).
«Don't Think Twice» Mike Birbiglia's
film about a tight - knit improv troupe that's split when one of its members ascends to an SNL - type show was full of top comedians (Birbiglia, Chris Gethard, Tammy Sagher, Keegan Michael Key, Kate Micucci and Gillian Jacobs
make up the group) doing hysterical improv, but more impressively bringing so much heart and smart
observation to this very specific scene and age group.
The
film makes surprising, poignant
observations about generational change and the way people fill the voids in their lives.
This
makes them feel more realistic, and lets the
film make some sharp
observations about the nature of courtship in the world of dating apps.
Yet, among some subtle
observations about gender inequality, the
film makes sure to leave plenty of breathing room for McCarthy, Bullock and the largely game cast of supporting players to riff on all sorts of ridiculousness.
Adorno
made his sage
observation in a very different political time and place, but he could just as easily have been talking
about the political world of «The Ides of March,» the gripping and relentlessly cynical new
film noir from George Clooney.
In the article the writer
makes the following
observation about the changing landscape for the marketing of
films: