Posted on Fri, 3 December 2010 on the screen by James Gandolfini has the great Buddha and bustle of inner conflict unresolved and silent rage. He developed the character of "The Sopranos" and gives us a version of law-abiding "Welcome to the Rileys," as Doug, a hardware vendor in Indianapolis, which uses a sales agreement with New Orleans to take a break his wife (Melissa Leo take) and the stench of his parents' house, where the couple is mourning hirsute and separately in the death of their teenage daughter
Posted Fri, December 3, 2010
He developed the character of "The Sopranos" and gives us a version of law-abiding "Welcome to the Rileys," as Doug, a hardware vendor in Indianapolis, which uses a sales agreement with New Orleans to take a break his wife (Melissa Leo take) and the stench of his parents' house, where the couple is mourning hirsute and separately in the death of his teenage daughter.
In the big NO, he meets a teenage dancer / prostitute named Mallory (Kristen Stewart), and both develop the kind of drama workshops symmetrical co-writer relationship, if not real life.
Doug's got an aching void in his life should be his daughter, Mallory is a young runaway, vulnerable and alone. Soon Doug to pay rent to stay with his father at work live.
I know this sounds like the premise of Sundance from hell, and you also focus Gandolfini has to do - his character, Indianapolis, and for some reason, the actor tries drawled South ( it fails).
Yet, despite all the conceptual and technical shortcomings film, it is sometimes unexpectedly touching. There is something Doug Mallory approach to emotional meaning. It does not seek to change it, save it, one of these (although it has not started its mooring $ 1 for every f-bomb that is added). He just wants to improve his carefree life on the margins, have your bathroom is to remove electricity, etc.
The sight of Doug to perform tasks around his house is the meaning for the fathers (the rare film that can be drawn). There is something therapeutic in her, something that advice and talking and emoting can not keep. He feels useful again.
Everything is more or less well until his wife is present. She is able to live with the idea of a hooker with Doug asexual youth to assimilate, but feels he can not allow girls to go into prostitution, and Doug delicate symbiosis is paradise lost.
"Riley" is not credible for a second, but it's often watchable thanks to its cast who work hard. It's fun to watch Stewart out of their belt "Twilight" chastity and a prostitute in this role that spits dialogue, which has about 30 synonyms for the different parts of the female anatomy.
As Mallory, she speaks openly about the parameters of his work, after which they will not have sex with German shepherds. I think it's very bad news for Team Jacob.
Produced by Ridley Scott, Tony Scott, Jake Scott, Ken Hixon, music by Ramin Djawadi Samuel Goldwyn Films directed writing distributed.
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