Garden State by 'Pipsorcle'
Andrew Largeman's (Zack Braff) journey throughout "Garden State" seems to be a testament on the meaning of liberation. Going from his struggling acting life in Los Angeles to his hometown in New Jersey, where he witnesses his mother's funeral, Andrew is in the mist of confronting difficult issues. One of the biggest issues is coming to terms with his psychologist father (Ian Holm), whom he has distanced himself from for many years because he has put him on powerful antidepressants for most of his life. The reason for this I will not reveal but it has caused Andrew to feel as if his father has controlled his life in a way.
In showing how Andrew Largeman finds himself again, "Garden State" makes a good choice in putting him in every one of its scenes. Since this film is really about Largeman, because he is in every scene, we see a progression in his character as time goes on. At the beginning, we sense that Andrew feels rather numb and alienated but then as the film progresses, he becomes more energetic and liberated. This gradual change in his character is highlighted clearly in the cinematography, a key method in showing Andrew's psychological state.
For a directorial debut, I must say Zack Braff has given me a completely different impression than from his regular role in the "Scrubs" TV series. One might think that for a directorial debut coming from a TV actor would be uneven and at best, formulaic and uninspired. That's not the case here with "Garden State." Braff shows he knows how to handle directing and storytelling yet at the same time, showing a vision that clearly establishes himself as an auteur. Examples of this are the tense moments when Andrew is around his father. A lesser film would go for theatrics and end up being very talky in dialogue, but instead, Andrew and his father's moments together are more subtle. Whenever we see both of them together, they talk but when they talk, their relationship is forced. There's a sense of silence at times, which shows they feel uncomfortable seeing each other after the lack of good communication for about a decade.
Of course, one might think that from the way I'm describing "Garden State" so far, the film is on the more serious side. It's actually more funny than serious but even describing the film as a comedy wouldn't do ju...
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... selling his invention of soundless Velcro and now trundles down the corridors of his unfurnished McMansion in a golf cart. Another buddy, Mark (Peter Sarsgaard), sells jewelry he acquires in a highly unusual manner. Braff also writes simple yet refreshing dialogue, with plenty of offbeat humor, yet none of it is strained, nothing is played self-consciously for laughs.
Braff himself has a warm, easy-to-watch screen presence. He can say nothing during the lull in a conversation, while the camera remains focused on his face, and it feels right. Portman and Sarsgaard are also genuine, each wonderfully relaxed in their roles. Production design is superb: details in every scene are arranged well, and the photography, by Lawrence Sher, is - like the story and the acting – unpretentious, never distracting, tricky or cute. This film never seems to manipulate us; instead it engages us, arouses our curiosity and amusement, bids us gently to care about Andrew and Sam and even Mark, leaving us entertained in the best sense. This movie is as confident, as secure in itself, as comforting, as a well worn pair of house slippers or your favorite reading chair. A splendid film. Grade: A- (09/04)
The film "Garden State" is an eccentric drama; in addition, a romance comedy, with a slew of complex, innate cast of characters, each deeply entrenched in profound emotional and psychological scars, ascending from the regrets of their past. The film is a reflection, on rediscovering yourself after years of goalless ambiguity. Writer/Director Zach Braff, stars as the films’ chief character, Andrew Largeman. In James Berardinelli’s movie review, he said: “Garden State is one of those movies that fails to stay with the viewer for an extended period of time. It 's a forgettable film featuring a throw-away story with unmemorable characters and unremarkable performances.” I must disagree; although "Garden State" can be a tad somber, moody and too subtle for many viewers. Yet, the film is fantastically intriguing, by arousing viewers thoughts, and stimulating ones emotions, and that 's exactly what draws viewers in. Since the storyline requires viewers to dig deeper into the subtle undertones and symbolisms
Forthright emotions are not necessary in this piece for the reader to connect, understand, or empathize with the plot. Johnson created a character who clearly has emotions, but chooses to safeguard them for a realistic feeling and the ability to concentrate on the more important purpose of the novel: to expose the difficulties a man with dual identity may face in a time period determined on separating and segregating who he is. Detached and emotionless, in this well-crafted and well-thought-out scenario, expresses more emotion and creates a more realistic novel than a complex examination of his inner feelings may have
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
Charlie Goldman, as portrayed in Ann Packer’s Nerves, is a thirty-something man-child who is losing his wife and comes to realize that it is he who is lost, somewhere in the streets of New York City. Gripped with overwhelming fears and psychosomatic ailments or hypochondria, Charlie suppresses the true causes of his condition while making a futile attempt to save his marriage. His childlike approach to life and his obsessive approach to marriage pushes his wife Linda towards a career in San Francisco and ultimately divorce. This essay will explore the broader themes of growing up, obsession and love.
Sandler's Happy Madison production outlet ticks over nicely on the back of his own hits; less so when he exec-produces -- as if sadistically -- for his friend Rob Schneider (The Hot Chick, 2002, etc). After a mildly awkward patch at the start of the decade (including Little Nicky, 2000, and Mr Deeds, 2002), Sandler re-established himself in the nine-figure-grossing league with Anger Management (2003) and 50 First Dates (2004); and the director of those two pictures, Peter Segal, is also at the helm for Sandler's remake of Robert Aldrich's The Longest Yard. Alas, this is Sandler's most formulaic outing to date, the most by-rote script he has yet committed to.
In your view, how does Welles’ portrayal of the complex nature of happiness contribute to the enduring value of Citizen Kane?
Obesity in children across America has become an increasing public health concern. Obesity has been identified as an epidemic that is plaguing our children in the United States. In some countries around the world children are dying of starvation everyday. How can this happen when here in America the opposite is a major problem? This is not to say that in America there are no hungry or starving children. It has been proven that our children suffer from obesity, and “children who are overweight or obese as preschoolers are five times as likely as normal-weight children to be overweight or obese as adults” (“Hope”). Obesity not only can cause a child to become more prone to having health problems down the road, but it can also make them feel insecure about themselves. There needs to be action taken in schools as well as in homes to help prevent this growing epidemic.
American Psycho is a savage account of a wealthy investment banker in the late 80s that commits heinous acts of murder, rape, and torture. Although on the surface, American Psycho seems as though it is just another horror story, it actually has a much deeper message. This story is a harsh critique of a superficial Wall Street society in the late 80s that was rampant with materialism and greed. This is the society in which the main character Patrick Bateman lives–where appearance, material possessions, and status define a person. This superficial existence leaves him hollow and dead inside and turns him into a psychopathic killer. A society such as this, devoid of any morality, inevitably creates psychopaths such as Bateman. The film shows an excellent portrayal of a vacant, nihilistic killer with no feelings or emotions. However, there is something more to the story that the film did not quite capture. The book seems to not only be a satirical take on this society, but a tragedy as well. Recreating the dinner scene with his secretary Jean shows that underneath the surface Patrick Bateman is, indeed, a human being with real feelings and emotions, and that it is a great tragedy that this superficial society has turned him into a monster.
1. What type of emotional disturbance does John Nash, the main character in the film,
Childhood obesity is a serious problem among American children. Some doctors are even calling childhood obesity an epidemic because of the large percentage of children being diagnosed each year as either overweight or obese. “According to DASH sixteen to thirty-three percent of American children each year is being told they are obese.” (Childhood Obesity) There is only a small percentage, approximately one percent, of those children who are obese due to physical or health related issues; although, a condition that is this serious, like obesity, could have been prevented. With close monitoring and choosing a healthier lifestyle there would be no reason to have such a high obesity rate in the United States (Caryn). Unfortunately, for these children that are now considered to be obese, they could possibly be facing some serious health conditions, such as heart disease, diabetes, and some types of cancers. All of these diseases have been linked to obesity through research. These children never asked for this to happen to them; however, it has happened, and now they will either live their entire life being obese, or they will be forced to reverse what has already been done (Childhood Obesity).
American Psycho (2000) offers a devastating social satire of the 1980s materialistic and hedonistic high society. Ironically, the film's monsters-in-hiding become increasingly evident even as the cinematography attempts to obscure most of the victims of Patrick Bateman (Christian Bale) with the dark hues of the nighttime. Additionally, the point-of-view (P.O.V.) editing in relation to Patrick Bateman illustrates his frustrations to the audience and shows his struggle to not only become the best in his society, but also prevent others that are either not fit for his society or those with particularly annoying idiosyncrasies from being a part of that society. The character study depicts the daily activities of Patrick Bateman, a young New York stockbroker working for Pierce and Pierce, as he hides the murder of Paul Allen (Jared Leto) from Detective Donald Kimball (Willem Dafoe). As the film progresses, Patrick's mask of sanity slowly slips as he finds out that he is not the idea of Patrick Bateman that he reflects himself of being throughout the film and realizes the disconnection that he has from the world around him.
Both of the men appear to be the stereotypical strong, heterosexual cowboys that herd sheep on a place called Brokeback Mountain and exemplify masculinity. One cold night, Ennis gets drunk and sleeps in Jack’s tent with him. Jack proceeds to try to cuddle with Ennis, but Ennis violently pushes him off. As the men get up and make eye contact, they forcefully grab each other’s face and begin kissing each other. Then, Jack forcefully removes his pants and the men begin have violent sexual intercourse. The violence that the men have while they are having intercourse encompasses the passion that they have for each other. Nevertheless, this scene is a turning point in the movie because it completely alters the men’s perspective on their sexuality. Although they initially blame their encounter on Ennis’ drunken state, they soon realize that their violent sex scene stemmed from the endless love that they have for each
The want to relax and to be entertained has always been a part of human nature. It seems that business has always been able to find ways to fulfill this want. But throughout the history of the United States the job of achieving this task has not been easy. More attractive ideas and inventions were constantly knocking out the old ways to enjoy life.
The point can be made that Bateman is simply trying to be better than everyone else, have more stuff, look better, and out do his rival workers, but that’s too simple. Bateman is obsessed with perfection. But why? Boredom, lack of a personality, and pursuit of happiness all come to mind. It’s hard to tell what exactly would make a person with so much so unhappy. Boredom does play a role in Bateman’s demented world, and so does lack of personality. It can certainly be said that Bateman is simply looking for happiness. I think Bateman does somewhat satisfy his boredom, and does make himself fe...
The settlement of the British Isles by north Europeans followed by Norman French paints the backdrop to this essay which will focus on the period between the early 15th and 17th centuries, when a 'standard' English evolved. It will show that modern-day English is very different to that first introduced to the British Isles, but by identifying changes through time, its continuity can be demonstrated. Finally, it will suggest that present day English is in a position analogous to that which existed before the Norman invasion, when there were many varieties and dialects, and that this may lead to its decline as a global language, due to decreasing intelligibility.