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Kristen's Mofo

Posts : 326
Join date : 2010-04-20
Location : in the toilet

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PostSubject: WTTR : Chronic    WTTR : Chronic  Icon_minitimeSat Oct 09, 2010 12:46 pm

WTTR : Chronic  Welcome-to-the-Rileys-Critique

For eight years, Doug Riley and his wife Lois have lost their only daughter in a car accident. Since they no longer agree, no longer speak, just brush past each other they in a house too large for them. Doug plays poker with his buddies, deceives his wife with a waitress, and runs a successful business instead. Lois, it is not left her home for ages and seems attached to a monotonous routine, almost monastic. During a business trip to New Orleans, Doug Mallory met a young minor claiming to have over 21 years and paying its bills by the stripper moves in the French Quarter. Doug immediately attaches to it and in doing so will change his life and that Mallory and Lois.

Eleven years after GUNS 1748, action adventure movie rather foutraque with Robert Carlyle, Jonny Lee Miller and Liv Tyler, director Jake Scott, "son and nephew, best known for its music videos and commercials, is to achieve feature film. And oh surprise, a sign vowing intimate drama (in the good sense) with the small world of American independent cinema, so eager to repeat forever the same recipes and photos stamped "Sundance." It's only Welcome to the Rileys, Jake Scott and screenwriter Ken Hixon never seek to do evil. Here, no lag cool voiceover significant, independent of thundering soundtrack. But a subtle analysis and humanistic character neuroses and trivial trauma, lost in their suffering, and enclosed in preventing the rituals of life.

The first third of the film, quietly exposing the pair formed by Doug and Lois through unspoken welcome and an atmosphere heavy, not always immune to the pathos, the fate between hard (we will say no more), and only slightly too supported . So Welcome to the Rileys dance on two feet and clogs subtle. A fire quickly rectified by Scott and Doug Hixon when reached New Orleans. His initiation, his vitality to a life which is denied since the death of his daughter, is as credible as appropriate, including through performance through no fault of James Gandolfini. The former Tony Soprano, we would pay to see in just about anything, proves once again the extent of his incredible charisma, making him the perfect personification of the blue collar American cinema today often tends to ignore.

Facing him, Kristen Stewart, devoid of her trappings of teen star, surprised by her maturity, do not overplay a partition dicey. Rebel wounded refusing any redemption young woman leaving a protected Doug saw in her a surrogate daughter, she played Mallory with a rare waiver of performance. Gandolfini / Stewart, a pair of actors rather unexpected, plus Melissa Leo. This beautiful actress named for an Oscar for FROZEN RIVER, drags his talent for years in shows such as HOMICIDE and TREME. In tortured woman forcing herself to overcome her neuroses and her sentence to avoid losing her husband, she displays a wealth of imagination, by turns scary, hilarious or poignant, subtly to define a character that would have largely been detestable. Or boring.

In Welcome to the Rileys, interpretations, just as they are, do not appear as though the mere opportunity for comedians known to team up with independent cinema. They used a carefully developed narrative, sparing credibility with emotion and humor, not trying to take the public hostage, but creating the emotion by surprise, by the grace of an obvious sincerity. We'll bet that number of spectators in their handkerchiefs blase sniff on images as a common embrace between husband and wife, or a phone call letting nicely final fate of the characters in suspense.

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