Clocking in at just under two hours, I LOVE YOUR WORK leaves the viewer feeling as though from the opening sequence that stones have been tied to your feet and your body thrown into the very deep and dank water to slowly settle into the mud at the bottom. Sound dreary? Then avoid this little mess of a film.
It is hard to believe that Adrian Butchart who is giving us the radiant GOAL! THE DREAM BEGINS trilogy could help write this script: one wonders if writer/director Adam Goldberg didn't just bring him in for help. The story is tired (small time guy gives up love for a career as a movie star with all the accessories of money, fame, celeb status, gorgeous wife, etc. only to find life in its simpler fashion was preferable) and the choices of casting this very dark and dreary tale are inappropriate. Giovanni Ribisi, superb an actor though he most assuredly is, simply is not credible as a movie star sex symbol whose stardom is accompanied by alcoholism, self hate, paranoia, fragmented thinking, and bad decisions. The only time we see anything vaguely suggestive of his ability to create a role is in the many flashback scenes (with girlfriend Christina Ricci): his on screen chemistry with his famous wife Mia (the enormously talented Franka Potenta who here is wasted in a mannequin's role) is nil, and his interplay with such actors as Vince Vaughn, Marisa Coughlan, Judy Greer, Shalom Harlow, Joshua Jackson, Jason Lee, and Elvis Costello is unilateral.
Goldberg films this boring redundant tale using all manner of artsy camera tricks that only serve to make the tedium increase. With a cast like this the product had promise. Goldberg needs some time to think about this phase of his career. Grady Harp
It is hard to believe that Adrian Butchart who is giving us the radiant GOAL! THE DREAM BEGINS trilogy could help write this script: one wonders if writer/director Adam Goldberg didn't just bring him in for help. The story is tired (small time guy gives up love for a career as a movie star with all the accessories of money, fame, celeb status, gorgeous wife, etc. only to find life in its simpler fashion was preferable) and the choices of casting this very dark and dreary tale are inappropriate. Giovanni Ribisi, superb an actor though he most assuredly is, simply is not credible as a movie star sex symbol whose stardom is accompanied by alcoholism, self hate, paranoia, fragmented thinking, and bad decisions. The only time we see anything vaguely suggestive of his ability to create a role is in the many flashback scenes (with girlfriend Christina Ricci): his on screen chemistry with his famous wife Mia (the enormously talented Franka Potenta who here is wasted in a mannequin's role) is nil, and his interplay with such actors as Vince Vaughn, Marisa Coughlan, Judy Greer, Shalom Harlow, Joshua Jackson, Jason Lee, and Elvis Costello is unilateral.
Goldberg films this boring redundant tale using all manner of artsy camera tricks that only serve to make the tedium increase. With a cast like this the product had promise. Goldberg needs some time to think about this phase of his career. Grady Harp