Stvarna bol 2024 Full Movie Online
David Kaplan: Bathroom
Plot
Mismatched cousins reunite for a trip to Poland to honor their beloved grandmother, but old tensions resurface as their family history is rekindled. When Benji and David visit their grandmother’s house in Poland, Jesse Eisenberg’s real-life ancestors have settled in the diaspora. Benji Kaplan: Let’s keep moving, let’s keep light, let’s keep moving. David Kaplan: Yeah, Benji Kaplan: The conductor comes over, takes the tickets, we tell him we’re going to the bathroom. Benji Kaplan: Gets up behind the train, starts toward the front, looking for any stragglers. David Kaplan: Excuse me, are we the latecomers?
This is our country
Benji Kaplan: Yeah, when it gets to the front, the train will be at the station and we’ll be free. David Kaplan: That’s fucking stupid. The tickets are probably twelve dollars. Benji Kaplan: That’s the principle of the thing. We shouldn’t have to pay for train tickets in Poland. David Kaplan: No, this was our country.
On CBS News Sunday Morning: Episode 4644 (2024)
They fired us because they thought we were stingy. 12 Studies, Op. 25, No. 3 in F major Written by Frederic Chopin Performed by Tzvi Erez. Jesse Eisenberg’s second writer-directorial effort aims for something unconventional. There’s something of Richard Linklater’s BEFORE trilogy in the DNA of A REAL PAIN, and a recognizable legacy of Michael Winterbottom’s TRIP series is evident.
And yet somehow… it doesn’t quite work
The ambulatory pace, the languid cinematography that begs to be beneath the surface of tourist attractions, the dialogue that meanders through a slovenly and unstructured exploration of the meaning of life, the complete absence, almost complete absence of “bad guys.” Any direct conflict, any hint of purpose that propels the plot beyond taking a simple path… True Grit shares all of these realistic characteristics with the earlier, more vibrant, life-affirming films. I don’t know why I never really liked this film. I think it has a lot to do with all the supporting cast (well, everyone except the cousins played by Eisenberg and Kieran Culkin). Will Sharpe’s non-Jewish tour guide, the Rwandan proselytizer, the old couple, the sexy divorcee… the characters are all very simple, very conventional, very boring. The actors who play them are good, but they don’t have much to do, so they seem unnatural and lifeless, more like stage decorations than people. I think Eisenberg knows how to control a camera; he knows how to put the right cinematic elements in place.
But maybe he doesn’t know how to direct actors, or he just can’t write characters
There’s never any indication that these people exist outside of the moments we see them, which could have been solved with a little more spontaneous improvisation on the part of the actors. Eisenberg and especially Culkin are better in this regard, but there’s still something rather forced and “scripted” about what they say and do. Eisenberg’s “OCD workaholic salesman” is largely one-dimensional, and the few times his character breaks through this facade feel more like forced acting than any credible glimpse into something deeper. Culkin is wonderful, perhaps a glimpse into his character in Succession if Roman Roy actually cared about people, but I think that’s just down to Culkin’s talent: he somehow manages to transcend what he had to work with. It’s a decent independent film with good laughs, some interesting ideas, a memorable tour of Poland, and a solid performance from Culkin.
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