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2 รีวิว

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  Brent Marchant

  9 19 ก.ย. 2568

  It’s been said that “life is what you make of it,” that “we become what we believe.” To some, this probably seems like the content of a warm, fuzzy, inspirational greeting card. But, if we truly take the time to examine ourselves and our lives, we’re likely to find that there’s more than a small kernel of truth in these observations. Such is the point of the latest offering from filmmaker Kogonada, who deftly explores how this principle is applied to our romantic lives, especially for those who are single and who believe that they’re all thumbs and hopelessly stymied where questions of love and relationships are concerned. The film follows the quirky, surreal, metaphysically driven experiences of David (Colin Farrell) and Sarah (Margot Robbie), who meet at a destination wedding. Their journey, however, actually begins before they meet when they each lease vehicles from an unusual car rental agency, one that’s more than it seems on the surface and that’s run by a pair of colorfully eccentric proprietors (Phoebe Waller-Bridge, Kevin Kline). As their experience unfolds, these unconventional circumstances continue, revealing that this scenario has much more going for it than meets the eye. And, before long, after the ceremony ends, they spontaneously embark on a road trip of self-discovery, one that takes them through a series of dreamlike, profoundly insightful experiences from their past. These astute re-creations help to show them how they’ve become the individuals they are, particularly where romance is concerned. They’re each initiated by passing through magical doorways to alternate realities to which they’re directed by an unusual, interactive GPS device located in their rental car. These portals walk them through a series of whimsical, increasingly intense, highly personal events that provide enlightening perspectives on their lives and individual natures – and how they needn’t be saddled with their outcomes if they choose not to be. The protagonists’ collective and respective stories are related with an array of emotions – some painful, some delightfully humorous and all of which provide them with an enhanced awareness of their past, present and potential future. As with his previous superb offerings “Columbus” (2017) and “After Yang” (2021), the director has again created a picture that packs a lot to ponder in a single, sensitive, skillfully layered cinematic package. But what sets this film apart from those other releases is its finely interwoven emotional textures, sentiments that create a tapestry covering a wider range of feelings than seen in those previous works. It’s without a doubt the director’s most “commercial” work to date, but Kogonada’s vision of what’s “commercial” is far more substantive and meaningful than what one finds in most contemporary releases, particularly in the romcom genre. There may indeed be an underlying element of the “boy meets girl” formula at work here, but it’s presented with far greater depth than what is typically found in such offerings. All of this is meticulously enhanced by a variety of inspired production elements, including the film’s inventive production design, gorgeous cinematography, smartly compiled soundtrack, perfectly timed comic relief and impressive performances (especially Robbie yet again). Admittedly, there are a few occasions when the pacing could stand some quickening. And the narrative is peppered with a handful of plot devices that might initially seem a little forced or even overly peculiar, but they all work out in the end, rewarding viewers with more than a fair share of revelatory and satisfying “a ha!” moments. When all is said and done, “A Big Bold Beautiful Journey” lives up to every bit of its suitably audacious title, making for both an enlightening watch, as well as a great date night movie. Don’t let this offering’s eccentricities and innovatively original approach keep you from enjoying everything it has to offer. You’re likely to be pleasantly entertained, and you might even learn a little something about yourself in the end, too.

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  CinemaSerf

  6 25 ก.ย. 2568

  Suspiciously, “David” (Colin Farrell) arrives at his car to find it clamped and adjacently is a conveniently placed advert for a car hire company. He’s a wedding to get to so turns up at this warehouse where he is introduced to a Germanically brusque receptionist (Phoebe Waller-Bridge) before driving off in a twenty year old car complete with it’s own, rather individual, form of GPS. He makes it to the nuptials where he encounters the enigmatic “Sarah” (Margot Robbie). She proposes marriage within five minutes, so we get a clue that this rapport is going to be a bit different. Indeed, after a bit of rain and some intervention from their car’s satellite guide and this pair of resolute singletons are soon car-sharing. That’s when they begin a series of reminiscing adventures that start like a Miyazaki mystery with a door in a field, then takes the travellers through a series of increasingly serious, sentimental and melodramatic scenarios that range from the joyous and mischievous to the far more profound. As they proceed, it’s clear that there is a spark developing, but what might come of it? There are a few scenes that might bring back some childhood memories of those nervous and apprehensive firsts we all went through at school, but for the remainder of this feature it seems that the events have been contrived to maximise the drama rather than appear real. She’s got a little more of the plot, but their stories arc in such a predicable, trauma/guilt-ridden, fashion and neither character is really developed anywhere near enough to get past the feeling that was just a wedding hookup movie only we get to act out their “getting to know you” phase instead of listening to it in a chat. Farrell is no natural here and I didn’t find there to be much chemistry with a Robbie who isn’t really sinking much into her part either. Waller-Bridge is clearly here to bring some sort of “Rosa Klebb” style of humour, but her thick vowels added little and by the conclusion I was sadly indifferent. It’s fine, but nothing memorable to see here.