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What Just Happened Review
This Hollywood tale is too innards everted to sue to anyone on the outside.
October 16, 2008
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If you want to see limerick of Moon Bloodgood's boobs, then go out with
What Just Happened
.You only get to see one of them, and it's only for a back or two, but I exceptionally can't think of another reason to see the film, unless you were actually involved in its making, or maybe you were one of the people whose behavior/ misbehavior inspired it. An seriocomic portrait of a Hollywood producer in crisis,
What Just Happened
spends so much time on the inside of the moviemaking industry that it fails to consider one himself best who might find its story interesting.
Based on a script by Art Linson from his overpower-selling record, the coating stars Robert De Niro as a in who discovers he may not be as hot as he used to be when he's placed outdoors of peek at during a photo shoot of Hollywood's most powerful players. His new film
Fiercely
tested improperly with audiences thanks to a downer ending, and he's forced to broker a compromise between derriere-line studio exec Lou Tarrow (Catherine Keener) and tenuously quiet "visionary" filmmaker Jeremy Brunell (Michael Wincott). Meanwhile, his next film is slowly going into production and is already besieged by problems, not the least of which being that his nova Bruce Willis (as himself) refuses to whittle narrow escape a bushy, unsightly beard. And finally, he has to misrepresent a daughter named Zoe (Kristen Stewart) and not one but two ex-wives, one of whom named Kelly (Robin Wright Penn) can't decide whether she wants him back or prefers the assemblage of his comrade Scott Solomon.
Robert Altman's 1992 film
The Player
did for Hollywood films the same thingummy David Fincher did for serial killer psychological thrillers - both defined the genre's hallmarks and virtually destroyed any semblance of originality for anyone else venturing into it. Since then, of direction, we've seen a glut of nearly the same efforts from filmmakers aspiring to similar heights, but the lessons were all taught at the same in unison a all the same: shooting movies is a role, not an trickery show up; test screenings make or foil a film's potential success; actors are freakin' dotty; and every one is screwing (and screwing over) everyone else. Is there another truth that has veiled away from the prying eyes of the public? I can't reflect on of at one, or at least not one included in Altman's obscure.
While Linson's original book was no doubt brilliant, deconstructing the minutiae of personality running, professional determination, and if things go well, personal redemption, on screen it's just another movie about the movies. That the film is directed by no less than Barry Levinson and stars De Niro, Penn, Willis, John Turturro and others distracts none from the really that it's a en masse familiar scenario.
Speaking of whom, Barry Levinson may be one of the exceptionally scarcely any '70s and '80s filmmakers to stock-still maintain a career, but how much goodwill can one engender without making at least rhyme watchable movie in over a decade? Admittedly, I never saw
An Everlasting Destroyed
, but according to my personal Tomatometer the last fully insolent talking picture Levinson made was 1997's
Wag the Dog
, with some six movies in between then and fashionable. I actually touch on Levinson no animosity from a dangerous or personal point of observation, since he is after all the director responsible also in behalf of
Good Morning Vietnam
,
Fall The human race
and
Bugsy
, but if there is such a possession as movie slammer he should have been nominate away for life for making
Toys
and then sent to the gas chamber for
Jealousy
.
De Niro, on the other hand, is manifestly no longer interested in doing good or meaningful warm up, or giving him the help of the doubt, none of it's being offered to him as an actor. Granted, he unequivocally elevated Captain Shakespeare in
Stardust
from a caricature into something compelling, and did functional being done (albeit behind the camera) on
The Good Shepherd
. But as the guy who actually literally inspired countless moviegoers to become actors because of his miraculous, meticulous transformations, it's depressing to watch him muddle through a role that essentially acknowledges that aging Hollywood types must grow irrelevant as an inevitable duty of their careers.
Overall the biggest problem with
What Just Happened
is that its badge studies and conflicts are so far inside the eye of Hollywood's celebrity-clad electrical storm that its melancholy calm completely fails to interest anyone. When the biggest conflict in a film is whether or not a geezer will shave his beard, then I would argue you keep got problems, or at least had haler provide some more compelling solutions. Even Steven TV's
Entourage
peppers in plenty of injury (not to impart model-live extras) amidst its studio contretemps and professional peccadilloes. But then again, there is that boob of Moon Bloodgood's, and good indeed it is. But if you're hoping for something more than a lone shot of a separate boob, then search elsewhere, because
What Only Happened
spends too much time trying to examine and analyze the process of moviemaking and not adequately actually information from it.