But pinot is not a survivor, and writers need to be. Here, Miles robs his own mother a heavy drinker herself, at least in the one extended sequence we get of her, and thus an antecedent for his own crutch in the first fifteen minutes of the film, an audacious choice by Payne. Miles is wearing a non-blue shirt for the first time, a purgation achieved. After a late evening picnic, the sun sets on the characters and on the lighter aspects of the picture as we move into darker territory. But the picture features enough flat-out hilarity that, given the right push from Fox Searchlight and some luck in the bargain, it could catch on with a larger public. Silly, laughable, and often extremely embarrassing.
Clooney in The Descendants running around out of breath in flip-flops. She was watching the History Channel in her robe and is now ecstatic at the chance to put on make-up and cook dinner for her boy and his buddy, his moderately successful actor friend who used to play Dr. Directed by Alexander Payne. A long stretch of the film has Miles, and the audience, writhing in comic anxiety as he consistently fails to summon up the courage to kiss Maya, forcing them instead into further levels of interesting but procrastinating dialogue. We see a concerned Hagerty bend over and the pilot gradually inflate. The bedraggled Broderick in shabby suits at the front of the class or at home in his sweatpants as Mr. For their picturesque qualities, however, strengths of Anderson, Allen, and the Coens, Payne is a legitimate rival and inheritor, and here his cinematographer is well chosen. Sideways is formally playful, containing elements of comedy, drama, adventure, western, slapstick, and documentary realism — it is both the light and the dark, and it is here, in the realm of dramedy, a seemingly diminishing term, that Payne has staked his claim on the American filmic landscape. Miles is now, for Jack, the wet blanket, so he curses him out for failing to seal the deal with Maya and then abandons our protagonist to spend the day with his new paramour. Which brings us to Sideways. This is The Real. Payne wants to deliberately disenfranchise the notion of spectacle, to abscond with the cheese before setting off the Baudrilliardian and Foucaultian mousetraps that overlay postmodern existence with an inescapable panoptical grid. Jack and Miles have the aforementioned scene about buying a vineyard together and Jack jettisoning the wedding altogether. Payne may be a liberal humanist, but there is something dour and skeptical in his works. His pass at Maya is fumbled, and though she rejects his kiss she accepts the opportunity to read his novel. Miles is wearing a non-blue shirt for the first time, a purgation achieved. His inspiration may come from abroad, but he is aiming his lens at the midsection of America, at the intestines of a nation, at unrefined people, gangly, portly, bald and broad-backsided, paunched and frazzled, hair disheveled, emasculated behind the wheels of used cars, decade-plus old Saabs, tiny blue Ford Festivas, Subaru Outbacks, Winnebagos. New York Film Festival, 11 Apr. Ostentation and pretense have been finally laid aside. Silly, laughable, and often extremely embarrassing. The DVD commentary of Sideways features audio not from Payne himself but from Giamatti and Thomas Haden Church, chummy and self-effacing as they scour the film and offer insightful nuggets from the shoot while riffing on the action with a scad of ten-dollar words, simultaneously engaging in and puncturing the introspective film scholar tone of supplementary commentary tracks. This provides an interesting metacommentary about the depiction of female-on-male violence on film. Driving the car and the agenda is Miles, who has become a self-styled wine snob deeply into pinots, while anything tastes good to Jack. Works Cited Payne, Alexander. Miles, framed in a slow push-in shot, is alone in his ruined car and still has to drive back to San Diego.
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