Nobody Walks Movie Reviews
User reviews on Nobody Walks
This is a drama about an artist from New York Martine (Oliva Thirlby), who arrives in Los Angeles to work on her film. Martine stays at the house of her friend’s friend and her family and the family’s life is disrupted by her arrival. I did not really enjoy this film but I did think it was artfully constructed but shallow in its core. This film was easy to watch but i did not really care what was happening and that is a strange phenomena. The film was so full of dialogue that it was really tiring but i thought that he actors were amazing. The cast definitely uplifted this film and made it bearable, even though i did not like most of the characters. Overall, this is one of those artsy films that try too hard and that you forget about as soon a s you leave the theater.
If you're a fan of the indie movie scene, then you might like this. If you like listening to whiny, mopey, weirdos, you also might like this. If you like big budget, action blockbusters, you should stay away with a ten thousand foot pole because this movie has nothing (repeat: nothing) to offer you. I heard it was decent and I wanted to see it because I love the duo that composed the soundtrack, but beyond that there was very little in the movie to recommend it. There have been tons and tons of movies about marital infidelity and this one is just another in the same boat. I guess there should be a rule in Hollywood: only make movies about subjects that haven't been done before. And if they have been done before, then only make movies that say something different about the same old idea. Otherwise, those of us in the audience are gonna be looking for the exit very early on. Hardly worth your money.
Part of me wanted to root for this movie because it has Rosemarie De Witt and Olivia Thirlby playing women who live on their terms. But then they really don't love on their own terms, which is what makes this movie pretty forgettable as soon as it's over. I was surprised since the movie is written and directed by a renowned female director from the indie scene. John Krasinski is very restrained in his role which makes him much more believable than if he were an overly loud and melodramatic douche like straying husbands in these movies usually are. Both of the lead actresses play their parts magnificently, making the movie as entertaining as it is, but in the end you wish that the whole thing was more deep and mature than it ends up being. It's a pretty static story with some very muted emotions. You wish that there was more going on, but nothing big ever seems to happen when it should.
If ever there was a movie about why do fools fall in love, this is it! Every character in this movie is smart and knows how to take care of business, but it seems like their whole collective world comes unraveling when their lives collide. The happily married couple is really not happy at all, but they aren't unhappy enough to tell each other that their relationship is just about relating to each other in terms of their shared living space. I really loved Rosemarie De Witt's character Jill. She was the smartest and most sympathetic character in the group and she was probably the only one who really knew how to act like an adult. The rest of them are either actual teenagers or teens in adult bodies with bizarre notions about love, lust, and sexual infatuation. I wanted to like Peter's character more, but I didn't get why he does what he does beyond the fact that he's bored. They should make a movie about boredom, and not cheating.
Hmmm...I wanted to like this movie more than I actually did, though no one seemed to think it needed to go anywhere. You kind of know where the movie is going to go when the movie starts and then it just stays there. The whole love story between Peter and Martine is pretty potboiler, though I was kind of interested by the infatuation the crazy man shows toward his therapist Julie. This for me was the most interesting relationship in the movie. You always hear about inappropriate relationships between teachers and students, politicians and interns, and doctors and patients, but this one seemed to really go the extra mile even while the rest of the movie just kind of sits there. I guess the director wasn't really looking to make any grand statements about life or love, just about how it kind of trips up people who should know better. Better luck next time, chumps!
I enjoyed this movie somewhat because of the superb and natural acting, but I think it should have been more sensitive about the whole subject of marital cheating. The movie just kind of treats the whole thing like oh, hey, everybody does it so don't get all crazy about it. I didn't appreciate that part of it. John Krasinski is very believable in his part, especially since I always think of him as the ideal and perfect husband Jim Halpert from The Office. In this movie, he plays a very different kind of husband - one who cheats on his wife even though I think he still loves her. The character if Martine seemed super self-obsessed to me and I don't think she had any idea what or who she was in relation to anyone or anything beyond her own needs. She needed to a lot of growing up but of course she didn't do any which makes the movie feel like a shallow pool of self indulgence.
Though the film doesn’t have as much depth or emotional resonance as we might hope that it would, Nobody Walks still packs a pretty powerful punch as a treatise on the workings of human attraction and marital straying. It makes some very astute pronouncements about what it is that brings men and women together in unexpected and sometimes destructive ways – and why the seduction of individuals is often more thrilling than any kind of relationship could ever hope to be.
Peter (John Krasinski) and Julie (Rosemarie DeWitt) are a married couple in Los Angeles whose life seems relatively balanced and loving. He works as a sound engineer and she as a psychotherapist. In other words, they’re both experts at listening. It all depends on who is doing the talking that gets things complicated.
In walks Martine (Olivia Thrilby), a boyishly cute filmmaker from New York who has a siren-like ability to enchant and seduce everyone she meets. Men want her body, and women want to want her too. She is the story’s hero, heroine, villain, and vamp, all rolled into one. You’ll be surprised at the end how much pity you feel for her.
There are other concurrent storylines about young kids trying to understand whether or not what they’re feeling is love or lust, as well as one of Julie’s patients confessing his own sexual attraction to her as her husband slowly drifts into Martine’s embrace, but the movie is at its best when it focuses on the crumbling relationship between Julie and Peter. Theirs is the relationship that seems the most real in this land of fake stories and second-guessed emotions. Both Krasinski and DeWitt play their parts to the hilt, often saying everything by saying next to nothing as their resentment for one another reaches a crescendo.
If nothing else, this story reminds us that the old ending of “Happily Ever After” is never an ending at all. It’s merely a plot point.
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