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Big Bad Love (2002)
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Reviews Counted:58
Fresh:24
Rotten:34
Average Rating:5.4/10
Consensus: A boozy depiction of a struggling writer, Big Bad Love is too messy and self-indulgent.
Runtime: 1 hr 51 mins
Genre: Dramas
Synopsis: BIG BAD LOVE brings to life the characters that populate Mississippi writer Larry Brown's short story collection of the same name. Leon Barlow (Arliss Howard) is a writer with a compulsion to drink... BIG BAD LOVE brings to life the characters that populate Mississippi writer Larry Brown's short story collection of the same name. Leon Barlow (Arliss Howard) is a writer with a compulsion to drink and a bathroom wall papered with his rejection letters. Powered by endless cases of beer, an undying desire for his estranged wife (Debra Winger), and his Vietnam War buddy Monroe (Paul Le Mat), he continually plugs away at his manual typewriter, full of anger and limitless hope that he will sell a story. Leon is suddenly forced to rethink his way of life, though, when tragedy strikes both a close friend and his young daughter. An obvious labor of love by writer/director/star Howard and producer/star (and wife of Howard) Debra Winger, BIG BAD LOVE succeeds at capturing the life the struggling writer, the fractured thought processes of the alcoholic, and the languorous pace of life in the rural south. Howard turns in a mannered, passionate performance, and the too-seldom seen Winger and Le Mat are both very welcome screen presences. Striking cinematography and a painstakingly chosen soundtrack also add greatly to this rewarding tale of friendship, tragedy, addiction, and ambition. [More]
Starring: Arliss Howard, Debra Winger, Rosanna Arquette, Paul Le Mat
Starring: Arliss Howard, Debra Winger, Rosanna Arquette, Paul Le Mat, Angie Dickinson, Sigourney Weaver, Michael Parks, Larry Brown, Matt Mitchell
Director: Arliss Howard
Director: Arliss Howard
Screenwriter: Arliss Howard, Jim Howard
Producer: Debra Winger
Composer: Tom Waits
Studio: IFC Films
Reviews for Big Bad Love
It is the sheer, selfish, wound-licking, bar-scrapping doggedness of Leon's struggle to face and transmute his demons that makes the movie a spirited and touching occasion, despite its patchy construction.
If we had more of Debra then I'd be cool with it, but her husband/co-star /writer goes on and on and on.
Unfortunately, Big Bad Love, for all its undeniably good anti-mainstream intentions, fails to come off even as the cutting-edge manifestation it tries so strenuously to be.
Brave and admirable for the trust that it puts in a viewer's intuition and willingness in going along with it right through to its rewarding finish.
The quirks and eccentric touches of the writing wind up being self-indulgent and just plain annoying on the screen, leading to a seat-squirming experience of mythic proportions.
Constantly touching, surprisingly funny, semi-surrealist exploration of the creative act.
The draw [for "Big Bad Love"] is a solid performance by Arliss Howard.
The only cosmic question that arises from watching this film is, why should we care about any of these people?
There are labors of love and there are labors of labor, exhaustively worked-through movies in which you feel as if you are watching a director give birth to every idea that has been gestating in the brain since he was given his first 8-mm camera.
[F]rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative, the film is blazingly alive and admirable on many levels.
... grounded by honest, expressive performances from Howard and Winger, who achieve a tempestuous chemistry. It also makes you want to pop open a cold one.
Far too clever by half, Howard's film is really a series of strung-together moments, with all the spaces in between filled with fantasies, daydreams, memories and one fantastic visual trope after another.
there's enough meat on the bones of Big Bad Love ... to keep it from being dismissable.
Arliss Howard's ambitious, moving, and adventurous directorial debut, Big Bad Love, meets so many of the challenges it poses for itself that one can forgive the film its flaws.
Though Howard demonstrates a great eye as a director, this Southern Gothic drama is sadly a tough sit, with an undeveloped narrative and enough flashbacks and heavy-handed metaphors to choke a horse -- or at least slow him down to a canter.
In the end, this is a story about a hard-to-know guy who loves his typewriter most of all. Everything else is just dust-jacket photography.
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