I was surprised to find myself strolling along the film’s basic plotline, not necessarily bowled over by what I was seeing, but not exactly disliking it either.
Elizabethtown (2005)
Tomatometer
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Reviews Counted:164
Fresh:45
Rotten:119
Average Rating:4.6/10
Consensus: This story of a floundering shoe designer who returns home for a family tragedy gets lost in undeveloped plot lines and lackluster performances.
Runtime: 2 hrs 3 mins
Genre: Romance, Theatrical Release
Synopsis: Though it revolves around death, Cameron Crowe's hotly anticipated follow-up to VANILLA SKY is optimistic overall, beaming with the same life-affirming mood as the crowd-pleasers JERRY MAGUIRE and... Though it revolves around death, Cameron Crowe's hotly anticipated follow-up to VANILLA SKY is optimistic overall, beaming with the same life-affirming mood as the crowd-pleasers JERRY MAGUIRE and ALMOST FAMOUS. Promising young shoe-designer Drew Baylor (Orlando Bloom) quickly learns how failure feels when his innovative but foolish design for a winged sneaker becomes the humiliation of the footwear industry. Informed of the magnitude of his mistake, Drew applies his design skills to the task of suicide by duct-taping a knife to an exercise machine. This melodramatic act is interrupted, however, when Drew receives a call from his sister, informing him that his father has died while on a trip to his home town of Elizabethtown, Kentucky. Drew's mother, Hollie (Susan Sarandon), elects him to go deal with the arrangements because he is the "responsible" and "successful" one. The only passenger on his flight, Drew meets Claire (Kirsten Dunst), a perky stewardess, who takes the opportunity to talk his ear off despite his apparent desire for some personal space. Supplying Drew with detailed hand-drawn maps, instructions for how not to get lost, and three phone numbers where she can be reached, Claire tenderly sends him off to confront a town full of relatives he has never met. Once in Elizabethtown, Drew is subjected to relentless family wackiness from people who seem to have known his father better than he did. Meanwhile, he stumbles into a hesitant romance with neurotic but charming Claire, whose anal-retentive wisdom, lust for life, and good taste in music may help Drew come to terms with his newly diminished place in the world--and to see it as possibly a better one. A love story, family drama, and road trip in one, ELIZABETHTOWN boasts another of Crowe's excellent soundtracks, with artists like Tom Petty and Elton John giving the film much of its emotional drive. [More]
Starring: Orlando Bloom, Kirsten Dunst, Susan Sarandon, Alec Baldwin
Starring: Orlando Bloom, Kirsten Dunst, Susan Sarandon, Alec Baldwin, Jessica Biel, Judy Greer, Bruce McGill, Paula Deen, Tom DeVitt, Paul Schneider, Loudon Wainwright, Tom Cruise
Director: Cameron Crowe
Director: Cameron Crowe
Producer: Paula Wagner
Studio: Paramount Pictures
Reviews for Elizabethtown
Crowe has some very good ideas here, many of them interesting and funny, but the story lacks cohesion, focus, and contains one too many scenes that simply fall flat.
If, as the film suggests, true greatness is defined by the willingness to fail, fail big and still stick around afterwards, then consider Elizabethtown a sweet, melancholy paean to that sad truth.
Elizabethtown is rather like an OK mix tape - waves of poignance, whimsy, interrupted by a forced anomaly, & then charm in the next track.
Despite all his best intentions and last-minute editing, Cameron Crowe’s free-flow romanticism may have finally gotten the better of him.
Cameron Crowe’s heart is in the right place, but Elizabethtown probably works better as a tribute to his late father than the uplifting romantic comedy to which he aspires.
There’s nothing quite like a death in the family to evoke romantic feelings and comedic chuckles in all of us.
Relentlessly lumbering, tone-deaf and even, by the end, a little repellent.
Elizabethtown is aggressive in its need to be loved. The effect of watching it is to witness over two hours of a movie hugging itself.
You can’t go home again, but if you do, you’d better discover yourself in the process or risk consignment to the slush pile of cinematic also-rans.
The film's problems lie with the lack of spark between a wired Dunst and a bland Bloom.
A warm and fuzzy parable about failure and redemption, life and death, love won and love lost, love hanging in the balance. And yet it doesn't hang itself--well, not quite.
Rarely has a film managed to be this maddeningly meandering, forced, unbelievable and, ultimately, phony and uninvolving.
Covering for the clear lack of narrative meat, Crowe piles on as many sloppily contrived 'movie moments' as he can.
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