Me and Orson Welles (2008)
Directed by Richard Linklater
New York, 1937. A teenager hired to star in Orson Welles' production of Julius Caesar becomes attracted to a career-driven production assistant.
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What critics compared Me and Orson Welles to
Hinterland is the debut offering from Harry Macqueen, a fresh-faced 30-year-old actor who has previously worked with Hollywood’s man of the hour, Boyhood director Richard Linklater (on Me and Orson Welles).
Now that “Boyhood” is with us, it seems positively bizarre that Linklater – whose work rate has been more or less consistent over the years, even if the work itself has not – could have kept it stewing so steadily on the back burner all this time as he busied himself with the lesser concerns of “The Bad News Bears” or “Me and Orson Welles.”
It's possible to watch the shifts in the filmmaker's technique over the years, as he moved from School of Rock to Fast Food Nation to Me and Orson Welles to Bernie , and yet Boyhood feels entirely of a piece within itself: there's no sense of the highs and lows he was hitting at the same time (and boy, is Me and Orson Welles ever a low).
It’s disappointing that the director of movies as wonderful as the “Before Sunrise/Sunset/Midnight” trilogy and “Me and Orson Welles” would caricature Olivia’s spouses.
Solid supporting performances add to the appeal, with Alexandra Maria Lara and Olivia Wilde making the most of their twin "muse" roles, while Christian McKay reminds us that we have seen too little of him since his breakthrough role in Me and Orson Welles .
And here's James Hunt, living the high life, funded by Lord Alexander Hesketh (Christian McKay, "Me and Orson Welles"), whose racing team looks like a moveable party.