Plot
Anger rages in Philip as he awaits the publication of his second novel. He feels pushed out of his adopted home city by the constant crowds and noise, a deteriorating relationship with his ... See full summary »
Release Year: 2014
Rating: 6.1/10 (215 voted)
Critic's Score: 84/100
Director: Alex Ross Perry
Stars: Jason Schwartzman, Elisabeth Moss, Jonathan Pryce
Storyline
Anger rages in Philip as he awaits the publication of his second novel. He feels pushed out of his adopted home city by the constant crowds and noise, a deteriorating relationship with his photographer girlfriend Ashley, and his own indifference to promoting the novel. When Philip's idol Ike Zimmerman offers his isolated summer home as a refuge, he finally gets the peace and quiet to focus on his favorite subject: himself.
Cast: Jason Schwartzman -
Philip Lewis Friedman
Elisabeth Moss -
Ashley Kane
Krysten Ritter -
Melanie Zimmerman
Joséphine de La Baume -
Yvette Dussart
Jonathan Pryce -
Ike Zimmerman
Jess Weixler -
Holly Kane
Dree Hemingway -
Emily
Keith Poulson -
Josh Fawn
Kate Lyn Sheil -
Nancy
Yusef Bulos -
Norm
Maïté Alina -
Clare
Daniel London -
Seth
Samantha Jacober -
Mona
Lee Wilkof -
Uncle Jonathan
Joanne Tucker -
Eve
Country: USA
Language: English
Release Date: 21 October 2014
Technical Specs
Runtime:
User Review
Author:
Rating: 6/10
The story of the struggling writer is not unknown to Jason Schwartzman.
He lead the brilliant but oh-so-short HBO show Bored To Death, about a
writer who has to turn to detective work for inspiration and cash on
the side. It was fresh, because that was just a framing device for
something more fun. Listen Up Philip uses struggling to write as the
backdrop to cynical drama and sour "I told you so's." If the walls
could talk, they would gossip about the fights that have taken place
over the years. It opens with a sequence in which Schwartzman's Philip
celebrates finishing his second book by rubbing it in the noses of
those who didn't believe in him. That's where he gets his satisfaction.
That's the bitter world of Listen Up Philip. Every character is
selfish, and miserable for it. The result is a film that's difficult to
sympathize with the characters, especially Schwartzman, but it doesn't
necessarily ask us to. They may be self-pitying victims of their own
hostility, but they eventually do come to self-realizing conclusions,
if too late. The film suggests that to make great art (in the form of
novels) it requires isolation, cut off from the city and the ones you
love, alienating them as if this is the only way. The jerky behaviour
aside, not just general standoffishness but frequent overlapping of
relationships, it begs the obvious question of "is it worth it?" Well,
no, it's not. Perhaps there are many creatives in the world that need
this lesson, either way writer/director Alex Ross Perry is keen to
explore it and take us with it.
With a less familiar cast, this would definitely be labeled a
mumblecore film. It borrows a French New Wave aesthetic (complete with
a jazzy score) featuring rugged and dark hand-held 16mm photography. It
can be a little sloppy with a lack of restraint, having some sequences
comprised entirely out of dizzying close-ups. It does however add
important weight to the drama and fortunately grow more confident by
the second half of the film. This style is inherently intimate, if not
necessarily engaging, and we feel like voyeurs. In turn, the humour of
the film just doesn't work. It didn't elicit a laugh from me, only a
smirk. It's not necessarily cringe-worthy, it's just the offbeat nature
of it doesn't land in this environment, despite its 'Laugh'
categorization at this festival.
It's the ensemble that gives the drama the atmosphere the film needs.
The script is otherwise serviceable, with a couple of idiosyncratic if
indulgent licks scattered throughout. Instead it's more interested on
being on the verge of tears. Elizabeth Moss is the undeniable
highlight. She's always been fascinating to watch on AMC's Mad Men, and
here she shows the ferocity and vulnerability that makes Peggy
compelling. Her character may feel extraneous, but her presence is most
welcome. Also great, but on a lesser scale, is Jonathan Pryce, who
teeters fine lines with skill and makes a character that could've
otherwise been trite (aka the cautionary vision of the future for
Philip) believable and endearing. However, the film often seems too
aimless with no end game in sight. It feels more organic, but it's
missed potential.
In the second half, the narrative bounces through the three characters,
a little clumsily, but it's better for exploring the characters with a
bit more depth than it could have missed with a straightforward
approach. The style is a little free form, which can feel quite
liberating, but mostly hints at a lack of discipline in Perry. Even
with the film's rawness, it does feature touches of Wes Anderson with a
Tenenbaums-esque articulate and omniscient narration one that only
barely justifies itself as well as insert shots of books inscribed
with in- jokes. Maybe the involvement of Schwartzman just attracts that
unique style, although here it's rarely connected to him. The cast
saves Listen Up Philip from being a complete chore but it still suffers
from unsympathetic characters and tired clichés. Save the struggling
writer scripts for the exercise pile, please.
6/10
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