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View Full Version : Silver Linings Playbook (David O. Russell)



Watashi
11-23-2012, 05:56 AM
IMDb (http://www.imdb.com/title/tt1045658/)

http://comingsoon.net/nextraimages/silver-linings-poster.jpg

Watashi
11-23-2012, 06:01 AM
This was as dull as I expected.

I guess I like my movies about mental illness to be raw and disturbing rather than covering it up with a cheap underdog feel-good Hollywood layer. With this and The Fighter (which I liked), I feel like David O. Russell has lost his satirical bite and has just dished out films for the masses.

Give me Take Shelter over this any day.

ledfloyd
11-24-2012, 05:13 AM
Just judging by the trailer this seems to indulge in the whole "mental illness is endearing/cute/whatever!" deal which, as someone who has suffered with severe anxiety for his entire life, i find incredibly patronizing.

Pop Trash
11-24-2012, 12:07 PM
Just judging by the trailer this seems to indulge in the whole "mental illness is endearing/cute/whatever!" deal which, as someone who has suffered with severe anxiety for his entire life, i find incredibly patronizing.

This is EXACTLY what one of my friends said about this on facebook, but I feel like making screwball comedies about serious issues (incest, Iraq war, crack addiction) has long been Russell's 'thing.'

I'll withhold judgement about this until I see it though.

Boner M
11-24-2012, 12:29 PM
The Fighter was a screwball comedy?

Pop Trash
11-24-2012, 05:11 PM
The Fighter was a screwball comedy?

You didn't find Bale's performance (plus Wahlberg's other family) pretty 'wacky?'

Ezee E
11-24-2012, 07:27 PM
You didn't find Bale's performance (plus Wahlberg's other family) pretty 'wacky?'
There's plenty of comedic moments, even if the movie is a drama. Although I wouldn't consider it a screwball comedy.

elixir
11-24-2012, 08:35 PM
I thought this was pretty bad. It's actually more like a romantic comedy that I would have thought, but with all the comedy derived from mental illness, which it forms pretenses to dig into with quirk and unconvincing outbursts when really it's just risk-averse and boringly shot and badly edited with numerous lame montages. The whole thing is just way too neat and contrived given its subject matter, not to mention it frequently spells things out that would be better left unsaid. Blah. The crowd seemed to love it though; they burst into applause when the credits rolled.

Mal
11-25-2012, 09:53 PM
Everything everyone else said so far. And its Garden State meets Buffalo '66 but way more crappy.

ContinentalOp
11-26-2012, 05:57 AM
I loved this. Seems to be the film David O. Russell was working towards with the Fighter. A sharp, hilarious and heartfelt crowd pleaser that obliterates the line between screwball comedy and dysfunctional family drama.

Pop Trash
11-26-2012, 07:09 AM
Frustrating.

You can feel that old eccentric spirit of early Russell in the manic energy and Hawksian screwball dialogue, but it just gets increasingly contrived. I dunno, I suppose the romantic comedies of the 30s-40s Russell is updating had plenty of screenplay contrivances too but I just couldn't get behind this in the second half. Plus, and I know 'it's not what a film is about, it's how it's about it' and yada yada, but give me Isabelle Huppert as an existential detective over montages of football tailgates and ballroom dance contests any day.

The music choices sorta bothered me too. I think it would have been way more interesting (and a throwback to the nutty spirit Russell once had) if he used the 80s thrash metal Cooper's character is into (like Metallica, Megadeath, and Anthrax) as soundtrack choices rather than the generic indie folky stuff like The White Stripes and Dylan. Speaking of music choices, weirdly I saw this at a mall and some subversive individual was playing The Wipers "Return of the Rat" through the mall's PA system after I watched the movie.

Rowland
11-27-2012, 01:59 PM
I was planning on seeing this tonight, turns out it only played for a week and has already left my area, replaced by... The Oranges? WTF.

Pop Trash
11-28-2012, 02:45 PM
I was planning on seeing this tonight, turns out it only played for a week and has already left my area, replaced by... The Oranges? WTF.

Not sure where you live, but it'll probably be back. It just got a ton of Indie Spirit noms and will most likely get a bunch of Oscar noms too (it is the Weinsteins after all...)

plain
11-28-2012, 02:47 PM
checking it out this weekend, still somewhat optimistic despite what I think my reaction will end up being.

Pop Trash
11-28-2012, 02:49 PM
checking it out this weekend, still somewhat optimistic despite what I think my reaction will end up being.

It's grown on me a bit. I have to say, I did laugh a lot during the first half and the ending, as contrived as it is, is so patently absurd it plays almost like a parody of Hollywood Happy Endings.

I just feel like I'd rather go back to early Russell films (esp. the great I Heart Huckabees) for rewatches over this.

plain
11-28-2012, 02:52 PM
interesting, most of my worries stem from the idea that the mental illness stuff is played for laughs, this is just what I've heard. Some people seem to be fine with it. Anyways, catching it Friday along with Karenina.

plain
11-30-2012, 11:31 PM
The more I think about Silver Linings the more I'm at odds with how obviously contrived and lacking it is. I had an okay time while physically watching it, but now I'm left pondering why some are so over the moon about it. My main complaints stem from Lawrence and how futile her character seems on paper. Cooper is the obvious stand-out (I stated after seeing Place Beyond the Pines how he lacks a dramatic physical presence as an actor, but he's pretty decent here for the most part even though his character isn't particularly interesting), De Niro is quite decent as well (about time, right?). I didn't have huge problems with the handling of mental illness, I figured there would be a lot more humor used distastefully, the extent of this is probably the young neighborhood kid who stops by the house twice, so laughably bad. At the end, while I didn't quite mind how it wrapped up, kinda whatever at that point, it's just such a safe film and not particularly involving IMO. There aren't many stand-out moments, though I imagine some will feel differently. Mostly, the film runs in circle for most of its run-time, some could argue it must due to Pat's on/off progression, but there's very little momentum/energy running throughout the film. There's also that horrible scene at the stadium which more or less sets off a big event at the household in the next scene, another sign of the lazy writing. Again, it's not an awful film by any means, I just kinda sat there for the most part. O'Russell seems content with mediocrity after this and The Fighter, two films which aren't that interesting outside of the acting. Also, did we need the Chris Tucker character?

Mal
11-30-2012, 11:49 PM
Also, did we need the Chris Tucker character?
White people need to learn how to dance from a Black person, so yes.

plain
12-01-2012, 01:03 AM
this is true.. such a small role though, nitpicking at this point.

Pop Trash
12-01-2012, 02:41 AM
White people need to learn how to dance from a Black person, so yes.

Ouch. That was lame. Conveniently forgot about that.

I did like seeing Tucker again in a non-Rush Hour movie. I thought he was pretty solid in this.

Mal
12-01-2012, 03:04 AM
Chris Tucker has made three movies in the last 11 years. He must bathe in money thanks to Brett Ratner.

Watashi
12-01-2012, 03:12 AM
Nothing will ever top Ruby Rhod.

Lucky
12-09-2012, 05:31 PM
You could practically see the neat little bow being tied onscreen at the end, but I still enjoyed this. Chalk it up to Christmas spirit or that I saw this on a date. Cooper surprised me. Lawrence is a bit overrated but surely had her moments. I was annoyed by the inaudible conversation during the climax. Makes it even harder to believe that the character does an emotional 180 on a dime. Also, what was with all the 360 camera pans?

Bosco B Thug
12-09-2012, 10:21 PM
You could practically see the neat little bow being tied onscreen at the end, but I still enjoyed this. Chalk it up to Christmas spirit or that I saw this on a date. Cooper surprised me. Lawrence is a bit overrated but surely had her moments. I was annoyed by the inaudible conversation during the climax. Makes it even harder to believe that the character does an emotional 180 on a dime. Also, what was with all the 360 camera pans? Agreed on everything - from the enjoying it to the ambiguous Christmas spirit and/or date reasons. Agreed particularly on Cooper and Lawrence. RT Critic blurbs seem gaga over Lawrence when she's lucky her sort of rough-around-the-edges performing fits the "modern screwball comedy" tone Russell seems to be striving for.

This is a fun movie. Haven't seen a Russell movie since I Heart Huckabees, but Russell's swooping and swerving camera is sort of great. He's definitely got romance and energy down, so it wasn't surprising at all when the film suddenly revealed itself an unpretentious "comedy of remarriage" template.

EyesWideOpen
01-01-2013, 08:10 PM
Reading these comments reminded me that I never saw The Fighter.

Qrazy
01-01-2013, 11:14 PM
You didn't find Bale's performance (plus Wahlberg's other family) pretty 'wacky?'

On a side note, my friend's step-father used to spar with Dickie back in the day and said that the portrayal of his family (sisters/mother) was 100% accurate and not exaggerated in the slightest.

eternity
01-02-2013, 07:31 AM
Chris Tucker has made three movies in the last 11 years. He must bathe in money thanks to Brett Ratner.
I read somewhere today that he's apparently blown all his money and now he has to start working again. Eh.

The Bad Guy
01-03-2013, 07:01 PM
I definitely enjoyed this one more than most of the people on this forum. I think it handles its subject matter quite well and those I know who suffer or have suffered from anxiety/mental illness all seem to think it's strong in this respect.

I also love to see Jennifer Lawrence and Robert DeNiro inhabiting good roles in a quality film, because we too often see such talent go to waste.

I thought it was very funny throughout and the emotional weight of the film never feels out of place. Perhaps the last act is a bit contrived, but I walked out of the theater without any complaints.

eternity
01-06-2013, 04:09 AM
I feel as if the story David O. Russell presents is quite juicy, but the tone in the final scenes greatly cheapen it. This story does not have a happy ending, and the sudden switch away from the naturalism utilized in most of the film seems like a huge mistake to me. I'm sure that's why it won audience awards and all that jazz, but it really does hold this back from being worthy of a lot the praise it has received. Otherwise, it's a good film that is desperately begging to be great, and would have been if Russell realized how toxic the events of the third act really were.

ledfloyd
01-06-2013, 04:17 AM
Is it wrong that I naturally assume this is 2012's Juno without having seen it?

eternity
01-06-2013, 04:34 AM
Is it wrong that I naturally assume this is 2012's Juno without having seen it?

Given the tepid reception around here, I'm sure that's fair. The only difference is that if you're generally a fan of David O. Russell's work, it will probably work for you. There are definitely familiar shades of The Fighter and Flirting With Disaster here, as odd as that might sound.

Pop Trash
01-06-2013, 04:57 AM
Jennifer Lawrence's character seems too young in this as well. She's apparently my sister's age (22) and Bradley Cooper is about 37. It's a bit nitpicky, but I probably would have appreciated this more if they were more evenly matched agewise. Something closer to Adam Sandler and Emily Watson in Punch Drunk Love.

eternity
01-06-2013, 07:28 AM
Jennifer Lawrence's character seems too young in this as well. She's apparently my sister's age (22) and Bradley Cooper is about 37. It's a bit nitpicky, but I probably would have appreciated this more if they were more evenly matched agewise. Something closer to Adam Sandler and Emily Watson in Punch Drunk Love.

In the book, she is supposed to be significantly older than him.

Rowland
01-06-2013, 07:58 AM
In the book, she is supposed to be significantly older than him.That wouldn't have been very MPDG of her.

ledfloyd
01-11-2013, 09:29 PM
Reading these comments reminded me that I never saw The Fighter.
It's funny that when reading through the thread there were many mentions of The Fighter, but when Bosco said this was the first David O. Russell film he'd seen since I Heart Huckabees, there was a second or two when I thought "but it is his first film since I Heart Huckabees?"

I liked this much more than I'd like to admit. My uninformed Juno comparison was completely misguided, and it became clear early on that my impression that it indulged in the "mental illness is cute/endearing" cliche was unfounded. I found Bradley Cooper's turmoil a bit TOO relatable at times. The attempt to equate his and Lawrence's mental illness with DeNiro's superstition and betting, sports fanaticism, Dancing with the Stars in general is perhaps a bit disingenuous but I think it works in a "this absurd society is making us crazy" way. That said, there is a noticeable change in feel once the parlay enters into things, and the ending is a bit too cutesy/reassuring, but overall I seemed to like this a lot more than most of you guys.

NickGlass
01-11-2013, 09:47 PM
Given the tepid reception around here, I'm sure that's fair. The only difference is that if you're generally a fan of David O. Russell's work, it will probably work for you. There are definitely familiar shades of The Fighter and Flirting With Disaster here, as odd as that might sound.

This may be splitting hairs, but it's more aligned with Little Miss Sunshine.

Also, I typically love David O. Russell, but his knack for character interplay is not put to inspired use here. Most of the "manic" dynamics register as false, and it essentially boils down to a bunch of annoying, thinly-sketched characters yelling at each other.

eternity
01-11-2013, 09:54 PM
A lot of what worked in the moment doesn't work upon reflection. I would have liked it a lot more if the ending was at least tonally consistent with the rest of the movie, or at the very least had a pinch of cynicism that it was desperately calling for.

NickGlass
01-11-2013, 10:01 PM
A lot of what worked in the moment doesn't work upon reflection.

This happened to me, like, 15 minutes into the movie. And then it went totally downhill.

B-side
01-12-2013, 08:19 AM
Copy/pasted:

I think Silver Linings Playbook is a bit more thoughtful than people are giving it credit for. Granted, the mania-matching editing and tonal shifts are hardly novel concepts, but they are applied with intuition and thought. There's an interesting undercurrent dealing with fate that takes the backseat to the "flawed people accepting flawed people and flawed circumstances" scenario. It kinda slips through the cracks, but toward the end of the movie you hear De Niro's father character, in an unfiltered fashion typical of the illness he in part passes on to his son, out the mother's rigging of Pat and Tiffany's run encounter. Nobody is confronted, and there's no big fallout and subsequent reconciliation, but it's an absolutely essential thematic and storyline coincidence that was essentially plotted by the parents and weaved into the narrative of the film itself. Throughout, the role of Pat's parents in his everyday dealings is apparent, but never in an overbearing God-complex manner. Tying further into the bipolar theme, the two parents tug at opposite ends of Pat's psyche and basically compete for a shared hopeful vision for his future. In the very beginning, Pat is sprung from the mental health facility by the mother without the father's knowledge, or the consent of the doctors. Rather, the courts, acting in opposition to the standard doctoral agreement, engaged in an plea bargain that would allow him to leave after 8 months if he hadn't reached a certain arbitrary level of mental health. The mother takes him home, and the father, happy and in shock, asks repeatedly about the advice of the doctors. When Pat and his father fight, it''s over the shared concern for the mother's well-being after Pat accidentally knocks her over in a fit. The parental genetic dice roll that helped give Pat his illness, also dictates a run-in with the future love of his life in Tiffany, an equally unwell divorcee. The father's bookkeeping business hinges on chance; something the father obsessively feels himself capable of battling by keeping his good luck charm son around and his rituals in proper order. So burdened by this fear of random chance, and so entangled in the web of his disease, his attitude toward Tiffany is quickly turned 180 degrees when she explains that the Philadelphia Eagles do well when her and Pat are together, something he didn't know due to Pat's secrecy induced by fears of parental rejection. So, again, the role of the parents is instrumental in not only the development of Pat's illness, but also in the recovery process. Fittingly, the big dance crescendo that needed to happen or Hollywood would've collectively shat themselves over the lack of predictability and reconciliation, is set to a "bipolar" music track consisting of fast-paced "modern" music cut jarringly into a classical dance song. Noteworthy is the characterization of the two romantic leads. Both seek escape and healing from past gendered (more on that to follow) incidents that have rendered them unfit for their communities. Pat loses his temper and submits to a nearly fatal masculine rage that sees his wife file for a restraining order after she's caught cheating on him with an older and fellow teacher. Tiffany, after experiencing the untimely death of her husband of 3 years and 5 days (an oddly specific recollection that speaks nicely to her mental state), sleeps around and still occasionally seeks the company of suitors to fill an inner void. The hyper-masculine stereotype frantically shifts between fits of anger and submissive apologetics, and the woman who falls victim to the latter half of the Madonna vs Whore psychological phenomenon. Ultimately, I think, the film seeks a reconciliation of its own between two poles, though it can't really be said to completely succeed here as it succumbs to easy finality that seems entirely out of order with what it had set up prior. Just a hint that things may not be as squeaky clean as they seemed would've sufficed, but it's nowhere to be seen. Regardless, it's a good film and one I'm surprised isn't gaining a bit more favor in our community of super-cinephiles as opposed to mostly Oscar-time movie fans.

B-side
01-12-2013, 08:23 AM
The attempt to equate his and Lawrence's mental illness with DeNiro's superstition and betting, sports fanaticism, Dancing with the Stars in general is perhaps a bit disingenuous but I think it works in a "this absurd society is making us crazy" way.

I didn't feel like Russell was trying to equate the two. There was equating in relation to De Niro's character's OCD, but only in a familial, "sins of the father"-esque fashion.

transmogrifier
01-12-2013, 09:21 AM
I know I should watch this, but I really, really, really don't want to.

Winston*
01-12-2013, 09:53 AM
I know I should watch this, but I really, really, really don't want to.

Same here. Trailer looked like the worst thing I've ever seen.

Fezzik
01-13-2013, 05:18 AM
I saw this tonight and give it a VERY mild yay. It was nothing special, but it wasn't horrible either.

The leads were good, DeNiro was great, but we've seen a lot of this before. It just didn't resonate with me.

And...

The fact that he chose Tiffany at the end really bothered me. She lied to him and manipulated him and then tried to publicly call him out for not being a stand-up guy.

If I'd been in that spot, the moment I realized Tiffany wrote the letter from Nicki, I would've agreed to do the dance to help my family, then tell her I never want to see her again.

Ezee E
01-22-2013, 10:20 PM
Silver Linings Playbook wishes it was a Little Miss Sunshine.

This whole movie feels like it could be summarized from the cafe scene in which Jennifer Lawrence screams about how "crazy" she is. It feels forced and comes out of nowhere. Happens consistently, but then turns out to be just fine in the end.

Wha? IDK... Cooper shows that he can do more then play an arrogant buddy at least. And Chris Tucker steals any scene he's in.

dreamdead
01-22-2013, 10:26 PM
I like the film if I take the Dargis perspective of it as a neo-screwball comedy.

If, however, I look at it as some kind of study of mental illness and the attempts to recover from those traumas, then it's fundamentally weaker. The film is ultimately too focused on prettiness (psychologically and filmically) to engage deeper issues. The reversal with Nikki is just weak.

And what in the world does Jacki Weaver do here to warrant Supporting Actress nods? She's so thinly sketched.

TGM
01-22-2013, 11:04 PM
And what in the world does Jacki Weaver do here to warrant Supporting Actress nods? She's so thinly sketched.

Outside of Bradley Cooper, I really don't get any of the acting nominations from this movie.

Mr. McGibblets
01-23-2013, 03:23 AM
I really didn't get any "mental illness is funny/cute" from the film. For 90% of the movie it was played harshly and as a big hindrance to life. There were no jokes at the expense of either of the protagonists. I really liked the movie up until they decided to make their dance contest into part of the bet. Right there it switches from being a trial to being something that will obviously have a perfect happy ending.

I was quite confused by the movie being set in 2008. It can't be the year the book was set so it seems like a pointless choice except for a blink-and-you'll-miss-it reference to the World Series.

Dukefrukem
01-23-2013, 11:20 AM
Loved this.

DavidSeven
01-24-2013, 04:46 AM
Wait, was I seriously the only person expecting...

...at least half of this film to part of some delusion? ...that events and entire characters would turn out to be complete fabrications? ...that the film would eventually take a dark turn? ...that this film wasn't just going to be a boilerplate rom-com through and through? ...that something, anything, would eventually suggest that the SCENE WHERE A BLACK GUY TEACHES CLUMSY WHITE FOLKS TO DANCE didn't really happen?

Boy, was I off the mark. This movie is contrived as hell. It's enjoyable for what it is, but it makes me angrier the more I think about.

David O. Russell, what happened to you, man?

Dukefrukem
01-24-2013, 11:54 AM
So you enjoyed it but gave it a Nay?

DavidSeven
01-24-2013, 03:09 PM
So you enjoyed it but gave it a Nay?

Yes. The movie has some superficial pleasures, but it's overall pretty cheap and manipulative and doesn't hold up to retrospection at all.

I find almost all movies enjoyable on some level. Do I need to thoroughyly loathe the ones I nay?

Dukefrukem
01-24-2013, 04:58 PM
I know we really haven't defined the YAY NAY definitions. But I consider YAYs as something in the movie worked and gave me strong positive enjoyment that I would want to recommend someone to at least give a chance. NAYs are the exact opposite. Of course, I can't tell if you gave the film a NAY but gave it 3 stars? Otherwise that would be OK with me since you think there are some mixed things going on, but overall did not enjoy the film. I'm rambling.

DavidSeven
01-24-2013, 05:10 PM
I know we really haven't defined the YAY NAY definitions. But I consider YAYs as something in the movie worked and gave me strong positive enjoyment that I would want to recommend someone to at least give a chance. NAYs are the exact opposite. Of course, I can't tell if you gave the film a NAY but gave it 3 stars? Otherwise that would be OK with me since you think there are some mixed things going on, but overall did not enjoy the film. I'm rambling.

I view three stars on the Match-Cut/Letterboxd five-star scale to be "mixed," meaning a borderline yay or nay. It's roughly the same as a "**1/2" rating on my own four star scale.

I would not say this movie gave me strong positive enjoyment, and I wouldn't recommend it to others. I thought it was passable entertainment as far as standard rom-coms go, maybe even a little better than that. Russell gives it a decent energy through technique, even if a lot of it felt like window dressing. The most I'd say in its favor is that I wasn't really bored, but like I said, I thought it was ridiculously contrived and reflection doesn't help the film at all.

Mr. McGibblets
01-25-2013, 12:15 AM
Wait, was I seriously the only person expecting...

While watching, I seriously considered...

that his wife was dead (probably suicide, him killing her would have been too harsh) and that everyone was trying really hard not to tell him that.

Henry Gale
01-25-2013, 04:57 PM
While watching, I seriously considered...

that his wife was dead (probably suicide, him killing her would have been too harsh) and that everyone was trying really hard not to tell him that.

Same. From his reading of the letter at the very beginning to the quick-cut flashbacks that came later, I had my suspicions. But as things progressed, it seemed like too many characters were aware of Cooper's situation for it to be something they were all playing along with everything and that it would've been a bit contrived. So I'm glad that they didn't go that direction, because it would've felt a bit gimmicky after what's an otherwise sincere, matter-of-fact story.

I guess I fall into the crowd that avoided this initially because of some reviews really did make it seem like it would fall into a category of Oscar Season-Approved Indie Darling that's so mannered and cutesy that it ends up just flat out annoying me. Not to mention the side of the criticism that put me off most where people like Danny Leigh from Film 2012/13, though was well aware he'd be in the minority, said he had an issue with a film that mistook mental illness for a punchline. I completely reject the idea that the film does that, especially when I think its instances of dark comedy and the inherent messiness of its characters' actions rarely intersect, and overall it played much more realistically than I'd consider it would, and was just generally pleasantly surprised by how well it worked for me.

A lot of its flaws have been pointed out here already, from Tucker's character seemingly changed in the editing room to Lawrence's character being a little too perfectly informed for everything to fix everyone's situation towards the end, but by those points, the film had already won me over and they felt like minor quibbles.

transmogrifier
01-31-2013, 12:10 PM
I know I should watch this, but I really, really, really don't want to.

Should have heeded my misgivings:

42/100


A shrill, shrieking mess, an unholy mix of indie "honesty" and mainstream romanticism. Alternates between a roomful of people screaming at each other and the two leads acting psychologist on each other (plus a couple of requisite montages). The actual climatic dance itself is the best part, if you totally ignore the contrived context around it, and the groan-worthy reaction shots, and the cheap "Why are they so happy about a 5?' punchline, because finally the two characters just shut the fuck up and try to find another way to deal with their lot, if only for a minute or two.


The direction is terrible, full of pointless track ins and hand-held nonsense to approximate crazy.

number8
02-01-2013, 04:38 AM
Hoo boy, this Meg Ryan shit got nominated for Best Picture?

number8
02-01-2013, 04:56 AM
Pros:

- Jennifer Lawrence. Terrible character, but she's engaging as she always is (except that one time on X-Men First Snooze).
- DeNiro giving some remote semblance of a shit, even though... Best Support? Come on.
- The dance.
- The running joke about running. I wish Pat would've caught up to her at the end with a jump scare too.

Cons:

- The crazy guy is violent, the crazy girl is a slut. Oh, of course!
- "Come on, Pat, put some black into it!"
- The entire film: "Fuck you!" "You're weird." "Fuck you!" "Let's be weird together." "Fuck you!" "I love you."

B-side
02-03-2013, 09:15 AM
Cons:

- The crazy guy is violent, the crazy girl is a slut. Oh, of course!

I touched on this in my blurb. I don't think it's even remotely helpful to coarsely pare them down as such.

B-side
02-03-2013, 09:19 AM
Wait, was I seriously the only person expecting...

...that something, anything, would eventually suggest that the SCENE WHERE A BLACK GUY TEACHES CLUMSY WHITE FOLKS TO DANCE didn't really happen?

I don't see the problem here. Danny was shown to be conniving and smooth, so him getting physically close and dancing sensually with Tiffany was meant to bring out a bit of Pat's psychosis and drive a subtle wedge between the two that showed that they weren't quite the perfect duo as they initially seemed to be. Their respective illnesses made them unpredictable, and in Pat's case, prone to fits of jealousy, recalling the incident that got him put in the hospital to begin with.

Llopin
02-03-2013, 10:30 AM
Saw this last night and was pretty fucken bored.

It starts off pretty well, I quite enjoyed the first third of the movie - up until Jennifer Lawrence shows up - mainly due to Cooper's engaging performance and some tolerable dialogue. Once the whole "we are fucked in the head" relationship starts, the script takes many liberties and settles in a tedious, boring dynamic in which anything goes (since they're crazy n shit) and in which comedy and drama sit one alongside the other in a easy-peasy, effortless way. Then the whole betting convoluted subplot appears, and there's a friggin dance competition. AND THEY REACH 50 POINTS THANKS TO ONE OF THE JUDGES WHO OMG WAS THE MOST STRICT WITH THE OTHER COUPLES. So overall, I felt the movie had potential and presented a fair situation but then descended to the realms of clichédom and crowd-pleasantry. I didn't feel too warm inside. Nor fuzzy.

Russell's direction is okay, the acting is alright (specially Cooper, the others I wasn't too impressed with) but I didn't give much of a crap about the characters.

Boner M
02-12-2013, 12:54 PM
This might be a Nora Ephron movie at heart but it made me feel as good as a Nora Ephron movie's supposed to make you feel so <^>(-_-)<^> to y'all.

Boner M
02-12-2013, 01:05 PM
I was actually impressed by how this didn't soft-pedal the mental illness angle like I've heard, even if it is the basis for the fairly conventional rom-com euphoria that the film (quite skilfully, imo) builds towards. Cooper's outbursts never feel cute, or observed from the outside. If anything, they undercut some of the overall winsome tone.

I find Elixir's complaint that the film is boringly shot too be a little bizarre, as well. It's nothing if not shot and edited with a great deal of verve, even when its dolly'n'track-mad Scorsese-isms are sorta pointless beyond being keeping things lively, which is as good a reason for stylistic flourishes as any. It reminded be a bit of Desplechin's last few films, and frankly, I prefer this to A Christmas Tale.

transmogrifier
02-12-2013, 01:55 PM
Boner has jumped the shark.

It is terribly shot.

Boner M
02-12-2013, 02:08 PM
Boner has jumped the shark.
http://4.bp.blogspot.com/_Ma1d0LTftco/S7vZt_CzRmI/AAAAAAAABK0/J7DvVTBBPho/s1600/after+hours.jpg


It is terribly shot.
I will say it was fun to hear sections of the Tuesday night multiplex audience giggling at some of the visual hyperbole.

NickGlass
02-12-2013, 05:56 PM
I was actually impressed by how this didn't soft-pedal the mental illness angle like I've heard, even if it is the basis for the fairly conventional rom-com euphoria that the film (quite skilfully, imo) builds towards. Cooper's outbursts never feel cute, or observed from the outside. If anything, they undercut some of the overall winsome tone.

I like that you like it, but I still don't get it; SLP just seems like a film where exhaustive elucidation doesn't matter. For its ccasional goodwill, I just find a lot of this hard to swallow.

As for the mental illness angle, I didn't think it was quirk-ified so much as it was underdeveloped and leaned on more for shallow gravitas and narrative jolts than actual human understanding.

Grouchy
02-12-2013, 09:24 PM
This was fucking terrible. All the critical acclaim it's gained is crazy. Not even one hardcore film critic seems concerned that Russell has gone from Three Kings and The Fighter to this sub-human type of edulcorated shit. The nominations for acting are the most puzzling of all. Outside of Cooper I don't think a single performance is that brilliant. De Niro's role is better than the ones he's had in the last decade, but it's all in the writing - the performance is as boring as usual.

I'd compare this film (unfavorably) to Punch-Drunk Love. Both are attempts at making an earnest romantic comedy with a protagonist with severe mental issues. Except I think the P.T. Anderson succeeded.

number8
02-12-2013, 09:27 PM
It made me think of Oasis, but maybe Punch Drunk Love is a closer match.

DavidSeven
02-12-2013, 11:09 PM
Man, this movie could only wish to have the kind of balls Oasis had.

Boner M
02-13-2013, 05:24 AM
Not even one hardcore film critic seems concerned that Russell has gone from Three Kings and The Fighter to this sub-human type of edulcorated shit.
I think this is much better than The Fighter.

B-side
02-13-2013, 05:44 AM
I think this is much better than The Fighter.

It is.

Grouchy
02-13-2013, 05:46 AM
I beg to differ. The Fighter might not be a masterpiece but it's at least a honest movie.

transmogrifier
02-13-2013, 06:03 AM
It is.

It's not.

B-side
02-13-2013, 07:09 AM
I beg to differ. The Fighter might not be a masterpiece but it's at least a honest movie.

There's nothing dishonest about Silver Linings Playbook.

baby doll
02-13-2013, 08:35 AM
There's nothing dishonest about Silver Linings Playbook.I'm pretty sure Bradley Cooper isn't really bipolar, whereas I know that Christian Bale actually smoked crack to get into character. He's that fucking Method.

ledfloyd
02-13-2013, 02:56 PM
http://vimeo.com/59024366

number8
02-13-2013, 04:07 PM
Man, this movie could only wish to have the kind of balls Oasis had.

Let's see Cooper and Lawrence try to be twee with that plot.

amberlita
02-13-2013, 07:57 PM
http://vimeo.com/59024366

This advocacy video for the film's greatness actually clarified for me why this movie just doesn't work. All of the points of praise this guy notes are for a different film. If Russell had given us an illuminating story about mental illness, both the overt and the subversive, then I might have loved it. But the guy's imaging an authenticity and honesty that just isn't there, no matter how hard the hand-held camera movements, grey-shade gloomy cinematography and overlapping dialogue tries to sell it as such. Those scenes he includes in the analysis...the friend admitting that he's not really doing well; Tiffany recounting her attempts at personal demon excorcism through promiscuity? He suggests these moments in the film are so honest that their hilarity is naturally revealed but that's not how it plays. These moments frequently feel artificial and clunky so that every moment that felt even remotely forced for laughter or inspiration gave me the impression it was trivializing what a real moment like that would be. And if it's funny, then it's funny. If it's inspiring, then it's inspiring. But trying to make it one or the other is anything but honest.

This doesn't go for the entire film. Some of the scenes play perfectly (like Pat getting morally outraged at the ending of A Farewell to Arms) and I have great admiration for the performances of its two leads.

ledfloyd
02-13-2013, 08:24 PM
I'm not nearly as into the film as Kevin B. Lee is, but I thought a devil's advocate was needed because I have a hard time seeing it as the nadir of modern cinema. I enjoyed it quite a bit (and I did find it rather authentic, especially early on). Is the Best Picture nod maybe a bit much? Perhaps. But I don't think it's any worse than Argo, Life of Pi, or Django Unchained and I think it's better than Les Mis and Beasts of the Southern Wild.

number8
02-13-2013, 09:31 PM
I'd be okay if this was merely regarded on the same level as, I dunno, fucking Love Actually or something.

Lucky
02-14-2013, 11:42 AM
I'd be okay if this was merely regarded on the same level as, I dunno, fucking Love Actually or something.

Yes, I'd like to see an alternate universe Match-Cut thread of this where the film was a fairly well-received box office hit, but not an overrated award-winner. I would bet you'd see less reaming and the positive comments wouldn't have to come off as an apology. The thread would probably only be a page long as well.

Dukefrukem
02-14-2013, 12:21 PM
These moments frequently feel artificial and clunky so that every moment that felt even remotely forced for laughter or inspiration gave me the impression it was trivializing what a real moment like that would be. And if it's funny, then it's funny. If it's inspiring, then it's inspiring. But trying to make it one or the other is anything but honest.

This doesn't go for the entire film. Some of the scenes play perfectly (like Pat getting morally outraged at the ending of A Farewell to Arms) and I have great admiration for the performances of its two leads.

Totally disagree. I think the characters reactions about their past and present actions is what makes this film so genuine. I feel there are tons of people who express themselves this way and I didn't feel anything was forced, with the exception of Tiffany going out of her way to seek out Pat. That reveal was pretty sloppy towards the end but it's ignoreable. Everything else falls into place nicely.

Dukefrukem
02-14-2013, 12:22 PM
What's with the 1 stars though? Feels like there's some other agenda going on.

Irish
02-21-2013, 03:13 AM
@amberlita (http://matchcut.artboiled.com/showthread.php?4369-Silver-Linings-Playbook-(David-O-Russell)&p=465724&viewfull=1#post465724): I think it depends on how you define "authentic" and "honest," and how you view O'Russell's attempt to filter these ideas through the needs of a conventional romantic storyline.

I've seen "Silver Linings" three times, two of those were in the same sitting, back to back.

The first time, I had the same reaction as some of the folks here: I thought the A-story was formulaic, the characters grating, the dialogue on-the-nose, the soundtrack brash, the direction frantic and unfocused. But I also fell into the enormous gravitational pull of the performances, and that alone made the movie succeed for me.

The second time, I ignored the story. I noticed how O'Russell played with the dialogue, and how he underlined themes with his settings, and how he used his camera to mirror the interior lives of the characters. I started to pay attention to what these people were saying, how they said it, and what they left unsaid. The third time, the soundtrack leaped out and reinforced the movie's themes, and dance became an interesting metaphor for the entire story.

This is a movie that is both carefully inauthentic while being authentic at the same time, and it's honest in ways that many other movies are not. Because of that, it's difficult to talk about "Silver Linings" as if it's any kind of traditional romantic comedy.

Modern 'rom coms' focus on a female protagonist. Their settings are light and whimsical and their plots are pure fantasy. They're not about real people in the real world. A movie about a junior copywriter living in an enormous New York apartment while working for an industrious, suit wearing Prince Charming is never meant to be an honest portrayal. A story about an uneducated, working class woman who stumbles into the arms of a billionaire is inauthentic by design. These movies are romantic daydreams on celluloid. The audience knows this, and expects it, and is entertained by it.

O'Russell uses the structure of a romantic narrative to tell the story of, as Boner put it, a 'comedy of re-marriage.' The overt use of obsession, emotional pain, and mental illness to drive that story makes "Silver Linings" more similar to movies like "High Fidelity," "Adaptation," "Sideways," and "As Good as It Gets" than anything from Sandra Bullock or Meg Ryan.

In these movies, we found a male protagonist obsessed with a specific ideal. The plots presented those obsessions as hobbies, and thematically, those hobbies became metaphors. In "High Fidelity," the metaphor was music. In "Adaptation," it was screenwriting and horticulture. In "Sideways," wine. "As Good As It Gets" opts for a more literal approach, burdening its lead with a severe case of Obsessive Compulsive Disorder. In each case, the hero's obsession keeps him happily ensconced, and later, as the story developed and he was transformed by it, the hobby-as-metaphor helped deliver him into a broader, more satisfying life.

While there's fantastical elements at play, these movies were grounded in the stuff of real life. These were stories about guys with workaday jobs, who struggled with money, and fought off loneliness whenever they returned to their solitary, empty apartments. Each one had greater and lesser degrees of comedy, but comedy wasn't what they were about. Instead of delivering a pleasant fantasy, they tried to say something real and true. They were movies that snuck their insights past the audience, in between the jokes.

"Silver Linings Playbook" has similar elements, employing football and dance for its metaphors. While it may be smiling on the outside, it's the kind of smile made through a clenched jaw. It's only after a second look, a closer look, that you might notice how this movie's got sweat on its brow and despair in its eyes.

Irish
02-21-2013, 03:16 AM
Consider Pat Jr. This is a guy recently released from a mental hospital who is desperate to believe he's not only better, but better than he's ever been in his life. He's driven by the idea that things will not only improve, but that they must improve. He needs his previous life, his marriage, to be a certain way. He's desperate that his own personal story have a single happy ending, so much so that no other ending is acceptable. O'Russell underlines this during Pat's rant about Ernest Hemingway's "A Farewell to Arms," and Pat's insights into that book mirror how he thinks of his own life: "But I liked it because they were happy. Do you think he ends it there? No. He writes another ending ... The world's hard enough as it is, guys. It's fucking hard enough as it is. Can't somebody say hey, let's be positive. Let's have a good ending to the story?".

Pat is all about forced positivity and blunt truth. But through most of the film, he does not have the ability to see beyond himself. He is incapable of connection. Everything he says is a kind of lie, because it's a deflection, a method of avoiding responsibility, a way of not dealing with his own pain. He uses truth as a defensive weapon, as when he's quick to point out that his wife "blew it too," that his father is the obsessive, the "explosion guy," that Tiffany "has a real problem." When Pat Jr says these things he believes them to be accurate and true. He thinks he's being open and honest. But he's not. He's projecting his own failings and fears onto the people around him. This bluntness is a form of emotional camouflage, a way of speaking about his pain without anyone noticing. And nobody does, except for Tiffany.

Tiffany's husband died pointlessly while they were estranged, attempting a small romantic gesture. Her response to grief was an aggressive promiscuity. Even given her pain, she still knows herself and is comfortable with her own uglier aspects (Pat, in contrast, tells his shrink that he hates his illness and wants to control it). Tiffany makes relentless truth-telling a challenge, offering people a glimpse inside a little too quickly and then daring them to judge her for it (a test that Pat fails early on, in the diner).

If Pat Jr's failure is the inability to see outside himself, Tiffany's is the opposite: She can't help but serve others before herself. She's hyper-aware of everyone else's needs, and is smart enough to anticipate them. This is evidenced in how she sleeps around, how she uses sex to disrupt her coworkers lives; in how she uses abrupt language to force others to see her, to deal with her; in how she baits Pat Jr at the diner, telling him what he wants to hear; in how she sees Pat Sr's condemnation coming a mile off, and has a clever and ready-made answer for him when he accuses her of making his beloved Eagles lose. Most tellingly, half way through the film, she says: "I do this time after time after time. I do all this shit for other people, and then I wake up and I'm empty." She's the only one in the movie able to accurately self-assess. Even though she employs a complex level of subterfuge in the plot of "Silver Linings," in many ways she's the most honest person in it.

In a more standard 'rom com,' the heroine's motivations would be transparent, her heart on her sleeve. The audience would never have to guess after her. But Tiffany is cagier than that, and holds her cards close. She doesn't tip her hand to anyone. The challenge of her character is that, unlike what happens in most movies, Tiffany's needs shift over time. She moves from seeing Pat as a friend, a brother-in-arms doing the thorazine shuffle; to falling in love with him; to trying to help him step outside himself, to help him heal. But there are no marked, obvious contrasts in her behavior that tips us off to these interior changes. It's a tribute to the subtlety and expressiveness of Jennifer Lawrence's performance that we're able to know her at all.

Note: Parts III and IV upcoming!

transmogrifier
02-21-2013, 03:59 AM
What's with the 1 stars though? Feels like there's some other agenda going on.

Why? Can't people just not like it?

amberlita
02-21-2013, 04:25 AM
In a more standard 'rom com,' the heroine's motivations would be transparent, her heart on her sleeve. The audience would never have to guess after her. But Tiffany is cagier than that, and holds her cards close. She doesn't tip her hand to anyone. The challenge of her character is that, unlike what happens in most movies, Tiffany's needs shift over time. She moves from seeing Pat as a friend, a brother-in-arms doing the thorazine shuffle; to falling in love with him; to trying to help him step outside himself, to help him heal. But there are no marked, obvious contrasts in her behavior that tips us off to these interior changes. It's a tribute to the subtlety and expressiveness of Jennifer Lawrence's performance that we're able to know her at all.

The strength of this movie is all in the performances. The script does Tiffany no favors and despite how much she zigs and zags emotionally, I knew exactly what Tiffany was doing the moment she started jog-stalking Pat. And that's okay. If you view this through the traditional rom-com prism, the movie delivers exactly what it should and does it better than most. But my rebuttal was for the guy narrating that review who saw this film as some shade of truth-revealing commentary on mental illness. It's not and the comparison to "As Good As It Gets" is apt for both films assign the underlying pathology the same role: romantic catalyst and means for protagonist redemption. I'm not going to tell the movie to be something else. But it's still a missed opportunity in my opinion.

Irish
02-21-2013, 05:25 AM
The strength of this movie is all in the performances. The script does Tiffany no favors and despite how much she zigs and zags emotionally, I knew exactly what Tiffany was doing the moment she started jog-stalking Pat. And that's okay. If you view this through the traditional rom-com prism, the movie delivers exactly what it should and does it better than most. But my rebuttal was for the guy narrating that review who saw this film as some shade of truth-revealing commentary on mental illness. It's not and the comparison to "As Good As It Gets" is apt for both films assign the underlying pathology the same role: romantic catalyst and means for protagonist redemption. I'm not going to tell the movie to be something else. But it's still a missed opportunity in my opinion.

I'm making the argument that this movie delivers more than the standard rom-com. There's a level of detail to these characters that you don't see in other, more mainstream comedies, or even most other films.

I didn't buy into the Fandor guy's interpretation either. I don't think O'Russell was trying to make big, far-reaching statements about "sickness in America" or implying that characters like Ronnie and Veronica were "medicating themselves through consumerism."

But it almost sounds to me here like you're taking this guys skewed interpretation and holding it against the film.

transmogrifier
02-21-2013, 05:40 AM
I find it amusing that for all the good stuff that Irish hates, it's this blah little film about nothing that stokes his fires.

number8
02-21-2013, 04:06 PM
Do you think it'd still be nominated for an Oscar if this had happened?


I thought I was going to make it with Vince Vaughn and Zooey Deschanel before "The Fighter." And then it didn't happen, for any number of reasons that were out of my hands.

ledfloyd
02-24-2013, 11:11 PM
I didn't buy into the Fandor guy's interpretation either. I don't think O'Russell was trying to make big, far-reaching statements about "sickness in America" or implying that characters like Ronnie and Veronica were "medicating themselves through consumerism."
But they totally are. Why else would they flaunt that they have iPod docks in every room in their house?

Kurosawa Fan
02-27-2013, 02:04 PM
Boner, you have lost your damn mind. This wasn't very good at all. Much as those Lawrence videos post-Oscars are cute, her performance here might be one of the weakest winners in recent memory. Story is downright silly, other performances aren't much better, ending is eye roll worthy. Instantly forgettable.

Dukefrukem
02-27-2013, 02:31 PM
Disagree.

number8
02-27-2013, 02:41 PM
I expect to see this movie bundled in one of those "triple feature" DVDs in a couple of years with Playing for Keeps and Celeste and Jesse Forever.

Boner M
02-27-2013, 02:50 PM
Boner, you have lost your damn mind.
Hey, I'm not the only one! Unless my reaction was the one that gave you some hope; in which case I'm flattered and sorry.

Kurosawa Fan
02-27-2013, 03:00 PM
Hey, I'm not the only one! Unless my reaction was the one that gave you some hope; in which case I'm flattered and sorry.

I admit, it did. Not much, but at least a glimmer. One could say your review compelled me to believe that there might be a silver lining...

EXCELSIOR!!!

Irish
02-28-2013, 01:16 AM
But they totally are. Why else would they flaunt that they have iPod docks in every room in their house?

I think that's only true -- that O'Russell is purposely commenting on consumerism -- in that same way it's true of any film that mentions brands by name. I don't think it's what the movie is about. I don't think it was a comment anyone was trying to make.

The characters are far too insular, and if you looking at the supporting cast they're all there to reflect the problems of the two leads. Veronica and Nikki, in particular, are talked about more than we see them. And with both of them, there's a running subtext that they're superficial, that they care more about appearances and lack the ability to really see anyone.

Irish
02-28-2013, 01:16 AM
This wasn't very good at all. Much as those Lawrence videos post-Oscars are cute, her performance here might be one of the weakest winners in recent memory.

Good God, man! Are you blind?

*grabs KF by the lapels and shakes him*

ARE YOU BLIIIIIIIIIIIND?!

transmogrifier
02-28-2013, 03:21 AM
KF is right, though. Though he probably missed that one awesome thing she did at the end of Act 2 that requires three viewings to catch.

Irish
02-28-2013, 03:23 AM
KF is right, though. Though he probably missed that one awesome thing she did at the end of Act 2 that requires three viewings to catch.

I will rep you once per day if you never post in this thread again.

transmogrifier
02-28-2013, 03:29 AM
Just rep me anyway. I deserve it.

Ezee E
02-28-2013, 02:54 PM
I did.

Mara
02-28-2013, 03:04 PM
You know, this film strikes me as the sort of thing that everyone on MC would dislike but I would secretly like. I don't know why. I haven't seen it yet.

If I do, we will test this hypothesis.

Fezzik
02-28-2013, 05:41 PM
I expect to see this movie bundled in one of those "triple feature" DVDs in a couple of years with Playing for Keeps and Celeste and Jesse Forever.

Not only did I like Celeste and Jesse Forever better overall (though it wasn't, in itself, a great film either), Rashida Jones's performance in that movie runs circles around Lawrence's in SLP.

(No, seriously. I actually nominated Jones for the Matchie this year).

Dukefrukem
02-28-2013, 06:27 PM
http://boston.barstoolsports.com/files/2013/02/jl2.jpg
http://boston.barstoolsports.com/files/2013/02/jl3.jpg

Grouchy
02-28-2013, 06:45 PM
I find her very hot. I'd like to smoke an intimate joint with her.

number8
02-28-2013, 06:59 PM
I'd like to silver line her playbook, if you know what I mean.

Grouchy
02-28-2013, 08:21 PM
I'd like to silver line her playbook, if you know what I mean.
Hahahah!

transmogrifier
02-28-2013, 11:21 PM
My daily post in this thread.

transmogrifier
03-01-2013, 10:43 PM
I think it's important to add, just for clarification: I still don't like SLP.

Spinal
03-02-2013, 03:58 AM
Much to my surprise, I loved this. The screenplay is a little bit dopey, but the execution is extraordinary. Such heart in the performances. Superb direction and a nice emotional pay-off.

Pop Trash
03-02-2013, 04:39 AM
Much to my surprise, I loved this. The screenplay is a little bit dopey, but the execution is extraordinary. Such heart in the performances. Superb direction and a nice emotional pay-off.

Oh lord. Someone post a photo of Denis Lavant for me.

transmogrifier
03-02-2013, 11:30 PM
24 hours later, still no change.

Mara
03-17-2013, 11:52 AM
You know, this film strikes me as the sort of thing that everyone on MC would dislike but I would secretly like. I don't know why. I haven't seen it yet.

If I do, we will test this hypothesis.

I came down somewhere in the middle. In some ways, I wish that the film had committed itself to simply being an above-average romantic comedy, because it struggles and chokes when it tries to be an ambitious, edgy art film.

I didn't hate it, though.

Gizmo
06-21-2013, 01:59 AM
It was ok.

Sven
02-17-2014, 07:56 PM
Movie is mediocre, but only when it isn't embarrassing.

One of these days, I'm going to see a Best Picture nominee from the last five years that is actually good.