With its self-conscious references to the artistic process and to art itself (in a scene that wouldn't be out of place in a Godard project, a character reads Poe's 'The Bells,' almost in its entirety), this is Swanberg's most moving and impressive film...
Alexander the Last (2009)
Tomatometer
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Reviews Counted:10
Fresh:7
Rotten:3
Average Rating:6/10
Runtime: 1 min 12 secs
Genre: Dramas
Synopsis: Director Joe Swanberg (Nights and Weekends) goes beyond the mumblecore movement with this revealing drama about marriage. For Alexander the Last, Swanberg reigns over an experienced cast of actors... Director Joe Swanberg (Nights and Weekends) goes beyond the mumblecore movement with this revealing drama about marriage. For Alexander the Last, Swanberg reigns over an experienced cast of actors -- including Jane Adams, Jess Weixler, and Josh Hamilton -- but still incorporates his usual improvisational techniques. Margot at the Wedding director Noah Baumbach serves as one of the film's producers. --© IFC Films [More]
Starring: Jess Weixler, Justin Rice, Barlow Jacobs, Amy Seimetz
Starring: Jess Weixler, Justin Rice, Barlow Jacobs, Amy Seimetz, Jane Adams, Josh Hamilton, Jo Schornikow, Sean Williams, Christopher Denham, Molly Hawkins, Kent Osborne, Alison Bagnall
Director: Joe Swanberg
Director: Joe Swanberg
Screenwriter: Joe Swanberg
Producer: Noah Baumbach, Anish Savjani, Joe Swanberg
Studio: IFC Films
Reviews for Alexander the Last
Clearly a transitional film for Swanberg, with a more assertive authorial voice on the one hand and more tentative (and unspontaneous) work with professional actors on the other.
A collection of indie movie clichés, the kind of film where every character is an actor or a musician or some sort of artist.
Alexander the Last, a 72-minute series of loosely connected scenes, follows an actress’s lurching conversations and tentative gestures in life and the theater.
Mumblecore has always lived in small moments, sometimes excruciatingly small, but rarely have these moments added up to a memorable takeaway message. Here, they do.
Swanberg aspires to the next level -- in story scope, character development, and artistic commentary -- and just misses the mark.
Absent any major dramatic moments, and without once relying on the crutch of overacting, the women enact a sisterly bond fraught with difficulties.
At a slight 72 minutes, the DIY director's latest bout of psychosexual titillation (which is being made available on-demand in conjunction with its SXSW fest premiere) feels undercooked.
What looks like a drama of adultery turns out to be an exploration of how the spaces between people can separate them or join them, often at the same moment.
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April 19, 2009:
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