When we were young movie stiller driver#

Suddenly, we're the oldest people in the room, with the most out-of-date vocabulary, squinting and fussing when once we used to laugh and shrug it all off. We know it happens to us, every day, every month, every year.

When we were young movie stiller driver#

The film has moments and characters but its as morally bankrupt as the Adam Driver character. Truthfully I don't hate the film, I hate its construction. Without it the film doesn't have a reason to be seen. Really? Without that the film really isn't about anything. We weren't suppose to have paid attention to that since that isn't what the film was about. He also added that we shouldn't have paid any attention to the integrity/making a documentary stuff since he only put it in so that the Stiller character had something to do. That was what he was going for and everything he was doing was for that. He said that all that mattered was the final bit of the film. What was Baumbach going for? After the NYFF screening someone in the audience asked Baumbach the questions I wanted to. The ending kind of throws numerous plot lines aside and is a feel good moment that feels contrived. The film's the collapse is kind of complete at the end of the film which is a kind of out of left field turn for the Watts and Stiller character. Its a wtf moment that had myself and more than a few people in the audience at The New York Film Festival scratching our heads. The collapse begins when the Charles Grodin character, a respected documentary filmmaker makes a speech about integrity and then two minutes later says that everything he had just said (and said pretty much in the film up to that point) doesn't matter. The film has a big subtext concerning honesty in documentary films and a quest by Stiller's character to uncover what the Adam Driver character is doing- the problem is the film subverts it and throws it aside in the final minutes. The problem with the film is that the terms of the film are kind of messed up. It has laughs and is occasionally strangely moving. To be honest the film is enjoyable on its own terms. The couple, Ben Stiller and Naomi Watts, meet up with a younger couple played by Adam Driver and Amanda Seyfried, re-spark their lives but questions creep in about what the younger couple is really after, and what is the right path in life. Noah Baumbach's film concerning a documentary filmmaker and his wife who have lost their friends to the baby track is disappointing. I saw them live in Houston in the 1980s, it is nice to see him still finding new things to do. Most are probably too young to remember the singing group 'Peter, Paul and Mary', which rose to the top in the 1960s, but he is the 'Peter' of the group. As an aside it was nice seeing Peter Yarrow as the oldtimer being interviewed, as Ira Mandelstam. A pretty entertaining movie, I always like Watts and I like Stiller when he is NOT playing some slapstick role, he is actually a very effective actor. But through it all Josh and Cornelia learn some things about themselves and some ways to look at their lives in different ways. It raises some ethical issues, especially when it is discovered that much of Jamie's 'documentary' was actually arranged.

As it turns out Jamie and Darby didn't meet Josh by accident, he was targeted. They are just the opposite, they are spontaneous, they seem to see life and the world around them as one big playground. He is just finishing a lecture and at the end meets a younger couple, Adam Driver as Jamie and Amanda Seyfried as Darby. He has hours of film, some good interviews, but is having trouble pulling it all together. They live in New York, naturally, have no children, he is a filmmaker working on his second documentary but seems stuck. The couple are both 40-something actors Naomi Watts as Cornelia and Ben Stiller as Josh. 'What is the wattage of that bulb.' She looks, squints, 'I think it is 75 watts but it is bright and I'm not sure.' Only a long-term couple that has settled into a boring routine would have that exchange as if it mattered. The script demonstrates this cleverly near the beginning, the couple are settling into bed for the night, she turns on the bedside lamp to read, he squints a bit and muses that the light seems bright. And when you do, and realize it, you need to do something. in your 40s, you can get into a routine, a rut of sorts, with almost no excitement in your life.