Nanette Burstein
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Barrymore overdoes the tomboy schtick “cool” girls have been required to do since the late ’90s (something about Mary, as I recall): she eats like a pig, drinks like a fish, rules at video games, loves The Shawshank Redemption, and takes monster bong hits.
Space allows the characters to have a sense of humor about themselves and time to indulge in the goofy giddiness of a new relationship, whether Garrett impersonates Morgan Freeman after learning Erin’s favorite movie is “The Shawshank Redemption” or Erin grins and throws out a hot dog she was about to eat after Garrett calls and asks her to dinner.
They drink, eat wings, play trivia, smoke pot and bond over “The Shawshank Redemption” and “Top Gun.”
As Erin and Garrett struggle to stretch lust across 3,000 miles via Skype, it's hard to maintain much interest in the fate of their union, in part because what they're like is so predicated on what they like, and what they like—they bond over YouTube memes, bar trivia, and The Shawshank Redemption—is so fucking boring.
The two hit it off immediately, bonding over beer, bong hits, arcade games and The Shawshank Redemption and embark on a six week whirlwind romance.
They share the delights of the sneezing baby panda on YouTube and Licensed to Ill, they can quote The Shawshank Redemption.
Their budding romance is propelled with some help from a montage of citywide cavorting, in which Burstein resurrects split-screen techniques that hark back to 1959's fluffy Pillow Talk.
Sleepless in Seattle (1993)
Directed by Nora Ephron
influenced Going the Distance (2010)
Plot Themes
Thus, like Sleepless in Seattle (1993), a film with which it otherwise has nothing in common, Going the Distance is a romance in which the principals spend much of their screen time apart, which gives first-time screenwriter Geoff LaTulippe plenty of room to fill with eclectic supporting characters.
So it's shaping up as a long haul, with certain echoes of Ephron's classic exercise in delayed gratification, Sleepless in Seattle, without being nearly as extreme.
As movies about displaced sweethearts go, " Going the Distance " is stuck somewhere between "Sleepless in Seattle" and a hard place.
But just as Tobe Hooper's 1974 masterpiece "The Texas Chain Saw Massacre" opened a door for filmmakers equipped with power tools and a taste for torture but no talent, so too have Apatow's frank and sometimes hilariously rude rom-com box-office smashes -- "Knocked Up," "The 40-Year-Old Virgin"…
Murder on the Orient Express (2017)
Directed by Kenneth Branagh
influenced by The Kid Stays in the Picture (2002)
Finally, the best new film this weekend comes from famed documentarian Brett Morgen ("The Kid Stays in the Picture," among many others), who takes more than 100 hours of remarkable footage and turns it into the fascinating effort called " Jane ."
They’re not wrong, from the standpoint of reality, which both films somewhat purport to represent, the inaccuracy is sort of staggering, especially Charlie Sheen’s reporter in Money Talks, who is so incompetent and unprepared, constantly editorializing on the fly, that he never would have been hired in the first place.
Directed with reclaimed exuberance by Ivan Reitman (2006's " My Super Ex-Girlfriend "), who hasn't made something this good in nearly twenty years, the film, like 2010's underappreciated " Going the Distance ," is an all-too-rare R-rated romantic comedy that uses its rating not as an excuse to be needlessly raunchy, but instead to simply be honest and forthright about its characters and subject matter.
Anyone who was amused by Drew Barrymoreâs recent Going the Distance will find some similar giggles here.
There was a time when "romantic comedy" was a broad descriptor that could be used to define "The Philadelphia Story" or "Bringing Up Baby" or "The Lady Eve."
There was a time when "romantic comedy" was a broad descriptor that could be used to define "The Philadelphia Story" or "Bringing Up Baby" or "The Lady Eve."
There was a time when "romantic comedy" was a broad descriptor that could be used to define "The Philadelphia Story" or "Bringing Up Baby" or "The Lady Eve."
Ron Livingston ("Office Space") does little with his role as Garrett's boss, much as was the case in his recent "Dinner for Schmucks" outing, but Matt Servitto (HBO's "The Sopranos," "Big Fan") makes comic timing an art form as Erin's NYC chief.
The script zings everything from "The Accused" to Michael Bay movies.
This character is played by comic Charlie Day, looking as if he's come from the set of Knocked Up without bothering to shower, and he not only eavesdrops on their lovemaking, he supplies musical accompaniment from his CD collection.
If Judd Apatow films such as Knocked Up can be credited for introducing romantic-comedy elements into the gross-out comedy genre, then Going the Distance seems to be doing the opposite by delivering strong elements of gross-out humour into a romantic-comedy formula.
Ever since Judd Apatow made romantic comedy both profitable and hip with hits like "The 40-Year-Old Virgin" and "Knocked Up," imitators have sought to repeat his success by importing the crude sexual candor of his characters.
The character may be derivative of Leslie Mannâ??s turn in Knocked Up , yet she and Barrymore share some of the film's funniest scenes, filled with raunchy girl talk.
But just as Tobe Hooper's 1974 masterpiece "The Texas Chain Saw Massacre" opened a door for filmmakers equipped with power tools and a taste for torture but no talent, so too have Apatow's frank and sometimes hilariously rude rom-com box-office smashes -- "Knocked Up," "The 40-Year-Old Virgin"…
Sutter is one of the year's memorable screen characters, as vibrant and compelling as Hannah Bailey, the real-life heroine of the 2008 high school documentary "American Teen."
It’s been known to happen — in “Fast Times at Ridgemont High,’’ some Spike Lee movies, occasionally when Catherine Keener opens her mouth.
As brash, no-nonsense sister Corinne, Christina Applegate (2008's " The Rocker ") is an ace at making the smallest of actions (or even silences) funny, but also gets some delicate dramatic moments where her love and protectiveness of her sister shines through.
Ever since Judd Apatow made romantic comedy both profitable and hip with hits like "The 40-Year-Old Virgin" and "Knocked Up," imitators have sought to repeat his success by importing the crude sexual candor of his characters.
But I was so on board from minute one, in a way I haven't been for a conventional rom-com since 2010's Going the Distance.
After a recent expedition into critically acclaimed territory that produced her directing debut Whip It and a first Golden Globe for her performance as Little Edie Bouvier in Gray Gardens, she has returned to the populous, brain-bashing shoals of romantic comedy.
Barrymore’s been very good in quite a few movies lately, especially the award-winning HBO movie “Grey Gardens” and the wonderful but little-seen roller derby film “Whip It,” which she also directed.
In demographic strokes, documentarian-turned-narrative director Nanette Burstein (On the Ropes, American Teen) and first-time writer Geoff LaTulippe couldn’t have concocted a better mark if they’d designed me in a lab.
What really sidetracks "Going the Distance" -- directed by Nanette Burstein, a celebrated documentarian ("On the Ropes," "American Teen") trying her hand at fiction here -- is that it feels as if it doesn't really know what direction it's going.
Describing it makes it sound depressing, but director Nanette Burstein -- the director of the documentaries On the Ropes (1999), The Kid Stays in the Picture (2002) and American Teen (2008) -- keeps the mood just right.