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Honestly, I didn't think the film itself was all that great, though the performances were great and, most importantly for us, the score was REALLY great - like an old Hollywood movie.
My problems with it: The main "love interest" had no real depth or development. It's unclear what she sees in the Sandler character. Also, it had many examples of style over substance, like the filmaker's ego took over and said "this will make people think I'm a genius!" instead of just telling the story. The opening was interesting but made no sense. And lastly, it's basicly a very silly romantic comedy plot dressed up like an art film - as if to say "take me seriously" and yet theres nothing there to take seriously - except the score.
But all that being said, it is definately different and proably still worth seeing - and I've already pre-ordered the score at Amazon.
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I don't see how any movie with Adam Sandler can possibly be worth seeing, especially one in which he tries to act serious (judging from the TV spots).
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At the end of the film, which I thought was P.T. Anderson's best film yet, theatre goers at my screening were dissapointed. I heard some people say, "what was that?" and "that sucked". If you liked The Waterboy and Sandler's usual crap, avoid this.
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Normally I would share Spacehunter's attitude about Sandler, but I have to admit that Sandler turned in an unexpectedly quirky and likable performance. All the acting was quite good.
I have to give the film credit for taking chances too, but I still stand by my criticisms mentioned above.
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It's a charming little film. Some truly wonderful cinematic moments like when Sandler's and Watson's silhouettes meet finally in a hotel lobby in Hawaii. Anderson has always had a keen visual flair.
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Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.
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Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.
Completely agree with all of that (other than misspelling Jonny Greenwood's name WTFFFFFFFFFFF HOW DARE YOU). Magnolia, for all its painful temp-track adherence, still managed to be a great listen. The cellos toward the end of the "Stanley/Frank/Linda's Breakdown" cue are the highlight of the score for me.
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Absolutely love Brion's weirdo score for the film - to the best of my knowledge, this is really where his avant-kitsch musical voice really asserted itself in a score (Magnolia was wonderful, but much more traditional). Much as I've been wowed by Anderson's recent collaborations with Johnny Greenwood, I hope he and Brion reunite for Inherent Vice. I can't see Greenwood's bleak concert hall aesthetic working in Pynchon's breezy '60s farce, whereas Brion literally seems like the only living film composer who would feel at home in that world.
Completely agree with all of that (other than misspelling Jonny Greenwood's name WTFFFFFFFFFFF HOW DARE YOU). Magnolia, for all its painful temp-track adherence, still managed to be a great listen. The cellos toward the end of the "Stanley/Frank/Linda's Breakdown" cue are the highlight of the score for me.
D'oh! I'd fix the typo, but I should probably just wear the shame.
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