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David Kaplan: Yeah

Plot

The mismatched cousins ​​have come together on a trip to Poland to honor their beloved grandmother. The adventure picks up steam as the tension between the odd couple resurfaces against the backdrop of their family history. When Benji and David visit their grandmother’s house in Poland, it’s where Jesse Eisenberg is; the real-life ancestors settled in the diaspora. Benji Kaplan: We move, we stay light, we’re agile. Benji Kaplan: The conductor comes to get the tickets, we tell him we’re going to the bathroom. David Kaplan: The bathroom. Benji Kaplan: He gets to the back of the train and starts walking toward the front, looking for a hobo.

Benji Kaplan: Yeah

David Kaplan: Excuse me, are we the hobo? When he gets to the front, the train will be at the station and we can go home. David Kaplan: That’s so stupid. Tickets are about twelve dollars. Benji Kaplan: That’s the principle of the thing. We shouldn’t have to pay for train tickets in Poland. This is our country.

Featured on CBS News Sunday Morning: Episode #4644 (2024)

David Kaplan: No, it wasn’t, it was our country. They fired us because they thought we were cheap. 12 Etudes, Op. 25, No. 3 in F major Written by Frederic Chopin Performed by Tzvi Erez. Jesse Eisenberg’s second attempt as a writer-director is something of an outlier. TRUE Pain has something in its DNA from Richard Linklater’s BEFORE trilogy, as well as the recognizable legacy of Michael Winterbottom’s TRIP series.

But somehow it doesn’t quite work

The plodding pace, the bleak cinematography that invites you to peer beneath the surface of tourist imagery, the dialogue that winds through an unpretentious and unstructured unpacking of the meaning of life, the complete absence of any “bad guys.” the almost complete absence of any overt conflict, the faintest hint of any plot intention beyond a simple journey… True Pain shares all of these realistic qualities with the earlier, more energetic, life-affirming films. I’m not sure whose fault it was that I never got around to this film. I think a big part of it has to do with all the supporting characters (i.e., everyone except the cousins ​​played by Eisenberg and Kieran Culkin). Will Sharp’s gentile tour guide, the Rwandan convert, the old couple, the sexy divorcee… the characters are very simple, very ordinary, very boring. The actors who play them are great, but they’re not given much to do, which makes them seem unnatural and lifeless, more like props than people.

Eisenberg, I think, knows how to point the camera; he knows how to insert the right cinematic elements

But maybe he doesn’t know how to direct actors, or maybe he just doesn’t know how to write characters. There’s never any indication that these people exist outside of the moments we see them, which could perhaps be done with more spontaneous improvisation on the part of the actors. Eisenberg and especially Culkin are better in this regard, but there’s still something quite strained and “written” about a lot of what they say and do. Eisenberg’s “workaholic salesman with OCD” is essentially one-dimensional, and the few times his character expands beyond that facade, it feels more like forced acting than any real insight into anything deeper. Culkin is wonderful – perhaps a glimpse into his successor’s character if Roman Roy had actually cared about people, but I think that’s just a credit to Culkin’s talent; he somehow manages to go beyond what he’s been given to work with. It’s a good independent film with a few good laughs, some interesting ideas, a memorable trip to Poland, and a solid performance from Culkin.

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