Réalisation:
Josh RadnorScénario:
Josh RadnorPhotographie:
Seamus TierneyMusique:
JaymayActeurs·trices:
Josh Radnor, Kate Mara, Malin Åkerman, Michael Algieri, Dana Barron, Richard Jenkins, Zoe Kazan, Pablo Schreiber, Peter Scanavino, Tony Hale (plus)Résumés(1)
On his way to a meeting, aspiring novelist Sam Wexler (Radnor) finds Rasheen, a young boy separated from his family on the subway. When Rasheen refuses to be left with social services, Sam learns the boy had already been placed in six previous foster homes and agrees to let Rasheen stay with him. Dropped into Sam's chaotic, bachelor lifestyle, Rasheen is introduced to Sam's circle of friends: Annie (Malin Akerman), who has a pattern of dating the wrong men; Mary-Catherine (Zoe Kazan) and Charlie (Pablo Schreiber), whose potential to move to Los Angeles threatens their relationship; and Mississippi (Kate Mara), an aspiring singer/waitress who tests Sam's fear of commitment. As Sam's unlikely friendship with Rasheen develops, he realizes adulthood is not about waiting for the life you want, but simply stumbling ahead and making it happen along the way. Featuring a brilliant young cast and music from breaking indie musicians, it deftly captures the uncertainty and angst of what it is to be young, vulnerable, and desperate to find out who you are - or perhaps more importantly, who you want to be. (texte officiel du distributeur)
(plus)Critiques (2)
As an appetizer for a Woody Allen film, this relationship comedy does not disappoint. Conscious of its actors’ abilities and the options provided by the budget, it doesn’t delve into grand existential issues, but it still could have achieved a better result in its lightweight category. In the introduction, we are unwisely left for a longer time in the company of the likable Sam, who, however, will not be the only important character. I simply didn’t have any desire to run from her to the two couples at non-rhythmic intervals. This slows the film down and makes it difficult to get to know any of the characters better. Sam’s story would have easily sufficed as a stand-alone narrative. Perhaps Radnor should have just kept the focus on her. 65%
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Despite the relational study of life in New York, I did not strive to compare myself to Woody Allen, but when one dialogue "anonymously" reminded me of him, I realized that Josh Radnor wants just that. To place his narrative at least partially alongside the great one. And why not in the end? I believe in relationships, their punchlines too, and even actors are tamed exactly so that no one stands out and their smaller mosaic is adequate. There's nothing to discuss, the ideal indie contemplation is here.
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