It charts the growth of Julie (Renate Reinsve) from her 20s into her 30s and the relationships she has with two primary men in her orbit - first, Aksel (Anders Danielsen Lie), an older artist, and second, Eivind (Herbert Nordrum), a barista who catches her eye at a party she crashes. The Worst Person in the World, Joachim Trier’s final film in his loosely constituted Oslo Trilogy, sidesteps the arch emotional beats that define stories of very young people in love. It’s why I find coming-of-age films focused on the turbulent decades of true adulthood so ripe - when the buildup of breakups, breakthroughs, accomplishments, and beliefs is starting to loom large. The coming-of-age genre is usually saved for teenagers and people in their very early 20s, despite the fact that the nature of being human is to be in a constant state of flux. Read Bilge Ebiri’s review of Jackass Forever. Watching these middle-aged masochists keep hurting themselves for our pleasure reminds us of the passage of time. You sense that among the people onscreen, and you might also sense it in the audience. While enormously fun, this is a more emotional movie than previous entries. There is a lot of hugging in Jackass Forever, believe it or not, and most of it feels sincere. First comes the stunt, then comes the agony and, finally, the camaraderie. If anything, Johnny Knoxville and his merry band of gluttons for punishment have regressed, in the best way possible, utilizing the full array of modern filmmaking to portray some of the most sophomoric stuff ever put onscreen. Even so, what makes a Jackass stunt a Jackass stunt isn’t really the difficulty or the cleverness or the grossness of the activity, but the interactions among the perpetrators, victims, and spectators. Jackass Forever is a kinder, gentler Jackass, but thankfully, it’s not a more mature one.
0 kommentar(er)
