How can I not immediately love this? The narrative is filled with weighty topics and story ideas, accompanied by raised voices, tension, and charged, difficult emotions. Yet for all that, by the grace and dexterity of all involved, this is by and large a pleasant, quiet drama, with a slight comedic edge to temper the more ponderous notions. For as in demand and beloved as Mary Elizabeth Winstead is, it never ceases to amaze what fabulous range and versatility she has. Don Johnson has had his ups and downs, but he inhabits the role of Roger as though he were born for it, with unremitting perfection. It's a genuine pleasure to see Jennifer Jason Leigh and Beth Grant here in small roles; while I'm less familiar with Katie Nehra, Reg E. Cathey, Derek Luke, or others on hand, they immediately light up the screen with their very presence. I don't know if it's the cast themselves, or actor/director Chris Messina, or the screenplay whipped up between Nehra, Jessica Goldberg, and Justin Shilton, but one way or another - one to the next, the actors slip into their roles with tremendous ease, and the characters themselves feel splendidly real and personal. Factor in the light but actively engaging and enjoyable music of David Wingo that greets our ears all around, and I'm frankly stunned at just how good this is. I anticipated liking 'Alex of Venice,' but this a far richer, more meaningfully absorbing film than I'd have assumed sights unseen.
This may only have been Messina's directorial debut, yet he illustrates a firm, practiced hand in that capacity that is a breath of fresh air. Doug Emmett's cinematography is just as gratifyingly lush, a real treat as a viewer. Meanwhile, I simply adore the writing; it's easy enough to individually assess each element thereof, breaking down the dialogue, characters, scenes, and plot, but there's more to it than that. Excellent as all constituent aspects may be, there's a certain indescribable quality to the screenplay, a warm and lovely nuance, that readily invites a swirl of thoughts and feelings even as we just enjoy the story as it unfolds of a hard-working attorney facing a sudden confluence of personal problems. In fact, this rather feels like an instance of the whole being greater than the sum of its parts, and that applies as well to background elements like costume design and art direction: this, that, and the other thing are all superb, with all participants behind the scenes and in front of the camera turning in terrific contributions. The result, however, is astoundingly well rounded and balanced: at once off-putting and compelling, dreary and heartwarming, sad and hopeful. The same beats of major gravity that Charlie Kaufman or Paul Thomas Anderson would amplify into world-shattering gloom are instead twisted into a portraiture of life's trials, tribulations, and changes that inspires forward movement even as it's deeply affecting - and that duality may be even more impactful. There's a fierce intelligence, in 'Alex of Venice,' and earnest passion and care, that's one we feel as much as appreciate with detachment.
What else to say? I think just about anyone could enjoy this, and I'd have no qualms of recommending it all. Naturally it's suggested most for fans of those involved, but wherever you're coming from, as far as I'm concerned 'Alex of Venice' is outstanding and demands a watch if you have the opportunity.
This may only have been Messina's directorial debut, yet he illustrates a firm, practiced hand in that capacity that is a breath of fresh air. Doug Emmett's cinematography is just as gratifyingly lush, a real treat as a viewer. Meanwhile, I simply adore the writing; it's easy enough to individually assess each element thereof, breaking down the dialogue, characters, scenes, and plot, but there's more to it than that. Excellent as all constituent aspects may be, there's a certain indescribable quality to the screenplay, a warm and lovely nuance, that readily invites a swirl of thoughts and feelings even as we just enjoy the story as it unfolds of a hard-working attorney facing a sudden confluence of personal problems. In fact, this rather feels like an instance of the whole being greater than the sum of its parts, and that applies as well to background elements like costume design and art direction: this, that, and the other thing are all superb, with all participants behind the scenes and in front of the camera turning in terrific contributions. The result, however, is astoundingly well rounded and balanced: at once off-putting and compelling, dreary and heartwarming, sad and hopeful. The same beats of major gravity that Charlie Kaufman or Paul Thomas Anderson would amplify into world-shattering gloom are instead twisted into a portraiture of life's trials, tribulations, and changes that inspires forward movement even as it's deeply affecting - and that duality may be even more impactful. There's a fierce intelligence, in 'Alex of Venice,' and earnest passion and care, that's one we feel as much as appreciate with detachment.
What else to say? I think just about anyone could enjoy this, and I'd have no qualms of recommending it all. Naturally it's suggested most for fans of those involved, but wherever you're coming from, as far as I'm concerned 'Alex of Venice' is outstanding and demands a watch if you have the opportunity.