Directed by:
David O. RussellScreenplay:
David O. RussellCinematography:
Masanobu TakayanagiComposer:
Danny ElfmanCast:
Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher, John Ortiz, Shea Whigham, Julia Stiles, Paul Herman, Dash Mihok (more)VOD (3)
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Academy Award-winning romantic comedy based on the novel by Matthew Quick. Bradley Cooper stars as Pat Solitano, a former high school teacher fresh from a stint in a mental institution who moves back in with his parents in an ill-fated attempt to reconcile with his ex-wife. His life begins to come together at last when he meets Tiffany (Jennifer Lawrence), a recently-widowed amateur dancer with problems of her own, and also begins to reconnect with his obsessive-compulsive father, Pat Sr (Robert De Niro). (Entertainment in Video)
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A great romantic comedy, the best for the past... a really long time. Very untraditional, argumentative and full of paradoxical situations. Bradley Cooper is excellent (well-deserved nomination) and Jennifer Lawrence (well-deserved nomination) is the perfect psycho fox with a sensitive soul. Notwithstanding the unarguable qualities of the main duo, De Niro (well-deserved nomination) rocks the most. An unpredictable, cute, but unintrusive movie that you can take a girl to and rather than the date turning bitter, you will more likely be treated to a sweet dessert.
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I'm going to be harsh and lean towards a lower rating, because as a whole this film didn't quite make the best impression on me. In terms of the acting there’s nothing to fault, but in terms of content it's pretty empty. I was bored at times, then the rush of emotions made my head spin. The only thing I really liked were the dance scenes. 3.5 stars.
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The protagonists of screwball comedies acted crazy. The protagonists of Silver Linings Playbook are crazy. Of course, within the boundaries of American indie romances, i.e. they are characters with eccentric behaviour and minimal psychological depth, and they are defined only by their interactions with their immediate surroundings. He loses his nerve here and there, she has nymphomaniacal tendencies, and both of them have lost someone. Now they need to emotionally fill up the vacant space and find their lost balance (for example, in dancing). It’s not necessary to know more than that to understand the story and to get a good feeling in the end. Russell placed his bets on good actors and sharp verbal exchanges, so it’s not surprising that the film’s highlights include the scene in which several mentally unstable characters shout at each other in front of a shaky camera. However, this is just another display of “shaky cam” syndrome. The nervous camerawork is used in line with Pat’s gradually subsiding uneasiness. The scenes with the psychiatrist are calmer and the camera movements gain a certain harmony with the gradual coming together of the central couple, which, however, has long been motivated by selfishness, so a certain nervousness and uncertainty persist. In other scenes, the camera points out what the characters realise only later (the reading of the letter), thus creating tension and raising expectations, which at least make the path to the predictable ending more enjoyable. It’s pleasing that, unlike many contemporary comedies, the film isn’t made up only of scenes and one-liners and that it also has a carefully thought-out structure (a vaulted dramatic arc, if you like), without dead spots and with a climax in which all of the motifs are conscientiously put to good use. The fact that the protagonist doesn’t have his behaviour fully under control and that he has to learn how to dance because of his “treatment” does not in any way weaken the thoroughly androcentric narrative (we barely get to know Tiffany’s parents; Pat’s parents condition the denouement), and in other respects the screenplay is revisionist only in relation to screwball comedies. Social norms are undermined by the transfer of the treatment process from the institutional context to the outside world, or rather the denial of the dichotomy between “normality” and “madness”. Unlike with classic screwball comedies, the realistic context here (treatment facility, pills, aggression) make us aware that the characters behave differently than is customary in their world. However, neither one of them has to enter a more normal world. In other words, everyone is crazy; it’s just a matter of finding the right one. 75%
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I approached the movie "Love Therapy" with the expectation that the girl who played the lead role in "Hunger Games" would be in it. I didn't believe her and couldn't understand how she was nominated for an Oscar and won a Golden Globe. But then I saw the film. At first, it got my attention for what it was about. Then Bradley Cooper got me, who really acted and his Oscar nomination is well-deserved. But Jennifer Lawrence completely won me over. Even though she doesn't really sit well with me as a person, even though I had prejudices against her, she was just so good in this film that I have to take my hat off to her. I don't know if she will win the Oscar in the unusual but interesting competition - personally, I expect Jessica Chastain to win - but her performance in the film "Love Therapy" is simply admirable. Let's forget about the Czech title, which is truly stupid, and focus on the film itself. We have Pat, who has just been released from a mental institution because he did something that classified him as crazy. He behaves like that. He is a peculiar person. Trivial things can anger him. He is not primarily a violent type, but he has mental problems. Psychologists refer to his condition as bipolar affective disorder. This person, who is potentially dangerous to society, has to start functioning again, but at first glance, we see that he is definitely not cured and it won't be long until he returns to the psych ward. But then he meets a girl. That's how it goes. The girl's name is Tiffany. I don't know why, but I generally don't like that name. It's a name for a prostitute. Or a stripper. Or an actress from "Baywatch." But that's not important. Tiffany isn't exactly okay either. Her husband almost killed himself, she has become somewhat addicted to sex, looked for it everywhere at work, until she got fired. Both Pat and Tiffany are lost souls. Society sees them as something worse. They don't think highly of each other either. That's what makes their journey towards getting closer to each other more interesting. Pat, who is obsessed with his wife, to whom he is prohibited from approaching, and Tiffany, who is focused on a dance competition. But it's not just them. Thanks to this film, you will realize that all Americans are crazy. No matter how big they are, whether someone locked them up in a mental institution or not. Some of them live quietly at home, even though a little therapy wouldn't hurt them either. And it's not just the great Robert De Niro. My girlfriend was disgusted by the characters, which I personally consider confirmation of how great their performances are. They are crazy, but their story is still beautiful. There's a lot of talking, a lot of yelling, but the film has depth, there are emotions, and even though the ending is quite American, there's still a feeling that those two actually deserve it. For me, both thumbs up. More: http://www.filmovy-denik.cz/2013/02/now-is-good-stand-up-guys-bourne-30.html
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For some, Silver Linings Playbook will be a barking drama where characters merely argue, shoot diagnoses at each other, and search for happiness through priorities that are not entirely understandable. For me, Playbook is a confession, an awakening, the power of life, and a shouted desire for happiness. If I were so bold as to say that at the end of the movie, I was feeling that no matter what happens, I've got a chance to prove what is most important to me in life, it would sound like the most worn-out cliché. But it was Pat and Tiffany who got me into this sincere mood – from the first monologue to the captivating ending.
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