I didn't want to read any reviews before watching the movie so it would not spoil the story. I just saw the scores that were mixed, so I was wondering which side I would be on. And I have to admit I did enjoy the movie. It was quirky, sometimes a little provocative, but I had a couple good laughs. And I am absolutely not a fan of Adam Scott. I don't know why, there is just something that bugs me about him. But in this movie he was okay, not great, just okay. Jason Schwartzman though he makes me laugh. It's not a movie that will make you laugh all the time, but there are some situations that definitely will give you a smile on your face. I can get that some people won't like it, because nobody has the same sense of humor. But for me it was worth a watch.
61 Reviews
A little sincerity pierces through this oddball mumblecore comedy.
Sergeant_Tibbs15 September 2015
Short and sweet, Patrick Brice's foursome mumblecore The Overnight is disguised as a more accessible comedy, headlined by Adam Scott and Jason Schwartzman along with Taylor Schilling. Thriving on awkward humour at the expense of new age lifestyles and anxieties, it treads a fine line of endearingly goofy, unexpectedly incisive and plain weird. However, in its brief runtime, it spends sequences on the mundane, highlighting a couple relatable aspects such as Scott's believable inability to make real friends. Its theme of sexual desires outside of monogamy brings to light a harsh truth that many would quietly acknowledge and it's sparked by the idea of that freedom, though it's an energy that's swiftly interrupted. It's not very visually inspired, including two very dangly and infamous props, but Taylor Schilling is a bright spark of the cast while Adam Scott holds his own in a feature film. Meanwhile Schwartzman is less of a person than a caricature but that is surely the intention behind the pair to bring out the humanity in Schilling and Scott. The Overnight earns a few chuckles and a few insights but it's mostly held back by its brevity but it has a sincerity through all the slight wackiness that makes it work, if just a little bit.
7/10
7/10
"Swinging by Numbers"
Kamurai257 October 2020
Really good watch, could watch again, and can recommend (at least for the sexually open minded.)
This movie focuses less on young rampant sex and more of the decline that people sometimes get as they get older and want to be more adventurous without destroying their relationships. It also doesn't treat it as ridiculous a thing, while still openly admitting that it is something foreign and strange.
The movie does a great job of leading the audience (alongside the main character couple) into this strange new world, not of debauchery, but love and connection. Given that the premise of the movie is them getting together, it's not a spoiler, but this is a romantic comedy for couples, basically.
There is plenty funny to this movie, but if you're not into sex-based comedy, then this isn't for you.
If you liked "A Good Old Fashioned Orgy", then you should give this a watch.
This movie focuses less on young rampant sex and more of the decline that people sometimes get as they get older and want to be more adventurous without destroying their relationships. It also doesn't treat it as ridiculous a thing, while still openly admitting that it is something foreign and strange.
The movie does a great job of leading the audience (alongside the main character couple) into this strange new world, not of debauchery, but love and connection. Given that the premise of the movie is them getting together, it's not a spoiler, but this is a romantic comedy for couples, basically.
There is plenty funny to this movie, but if you're not into sex-based comedy, then this isn't for you.
If you liked "A Good Old Fashioned Orgy", then you should give this a watch.
Odd, dark, and very unpredictable
Red_Identity13 September 2015
This is one of those films where the less you know, the better. As an overall film it is incredibly difficult to judge in terms of its merits. The film is really its own creation and it beats to its own rhythm. The cast is very strong, and the film is surely entertaining throughout. Because it's so unpredictable, there's a certain joy to get from just wondering where it'll all go. For that reason, it's more of a film that will be a lot stronger on first viewing. I don't know how it'll really hold up on rewatches, but I suspect it'll lose a lot. I had a great time watching it, but I also don't know if to recommend it because I feel like many people (and I say that with emphasis on many) will hate the film and what it eventually becomes.
Well Crafted, But Not My Kind Of Story
TheAnimalMother16 January 2022
As a comedy and as a gradually unfolding mystery, the film simply works. Mainly because all involved make it seem somehow plausible. A well crafted film that for me was quite surprising, as I had no idea what to expect going into it. It's not really the kind of story that I'm interested in exactly, but at the same time it's difficult to say that the film isn't worth watching. It is entertaining for the most part, and it definitely is somewhat original in my estimation, and even a little thought provoking.
6.5/10.
6.5/10.
More thirty-something marital angst
ferguson-627 June 2015
Greetings again from the darkness. For kindergartners, making friends is as easy as a bag of gummy worms on the playground. For adults, it's a bit more complicated. According to writer/director Patrick Brice (Creep, 2015) making adult friends can involve rectum paintings and penis prosthetics
at least after a lot of wine and too many bong hits. While this is not my wheelhouse for humor, it's clearly a bold cinematic step and pushes the boundaries even further than other recent Duplass Brothers projects (they are Producers here).
Emily (Taylor Schilling) and Alex (Adam Scott) have recently moved to L.A. from Seattle with their young son. Emily and Alex are good parents, good people, and a solid couple – except for some sexual incompatibility. While at the park, their son (and his gummy worms) befriends the son of Kurt (Jason Schwartzman), one of the endless oddballs that populate L.A. Kurt charms Emily and Alex into visiting his home for an adult dinner party/kid playdate.
Greeted at the door of the mansion by Kurt's French wife Charlotte (Judith Godreche), Emily and Alex are clearly wooed by the worldliness and sophistication of their new friends. Kurt is a bit of a renaissance man and he and Charlotte also appear to be a solid couple though as the evening unfolds, we soon enough discover their own sexual incompatibility. And therein lies the core and conflict of the film – relationship dynamics impacted by sexual tension explored through raunchy humor.
It's interesting to compare Brice's film with Paul Mazursky's 1969 "Bob & Carol & Ted & Alice", and analyze the cultural and cinematic differences brought on by the 46 year difference. What was shocking then, is nothing compared to what this film has us believe that most young adult couples are struggling with now. Emily and Alex spend the evening exploring their boundaries as individuals and as a couple, while being softly pushed by the more adventurous Kurt and Charlotte. Were it not so raunchy, the theme would be more interesting though significantly less appealing at the box office.
All four lead actors are strong, but Schwartzman and Scott handle the more challenging roles with aplomb. Given my preferences, I could have used a safe word on a couple of occasions, but the real test will be whether audiences find the film a bold step forward, or whether it is judged to be shock for shock's sake.
Emily (Taylor Schilling) and Alex (Adam Scott) have recently moved to L.A. from Seattle with their young son. Emily and Alex are good parents, good people, and a solid couple – except for some sexual incompatibility. While at the park, their son (and his gummy worms) befriends the son of Kurt (Jason Schwartzman), one of the endless oddballs that populate L.A. Kurt charms Emily and Alex into visiting his home for an adult dinner party/kid playdate.
Greeted at the door of the mansion by Kurt's French wife Charlotte (Judith Godreche), Emily and Alex are clearly wooed by the worldliness and sophistication of their new friends. Kurt is a bit of a renaissance man and he and Charlotte also appear to be a solid couple though as the evening unfolds, we soon enough discover their own sexual incompatibility. And therein lies the core and conflict of the film – relationship dynamics impacted by sexual tension explored through raunchy humor.
It's interesting to compare Brice's film with Paul Mazursky's 1969 "Bob & Carol & Ted & Alice", and analyze the cultural and cinematic differences brought on by the 46 year difference. What was shocking then, is nothing compared to what this film has us believe that most young adult couples are struggling with now. Emily and Alex spend the evening exploring their boundaries as individuals and as a couple, while being softly pushed by the more adventurous Kurt and Charlotte. Were it not so raunchy, the theme would be more interesting though significantly less appealing at the box office.
All four lead actors are strong, but Schwartzman and Scott handle the more challenging roles with aplomb. Given my preferences, I could have used a safe word on a couple of occasions, but the real test will be whether audiences find the film a bold step forward, or whether it is judged to be shock for shock's sake.
Enchanting and unsettling by turns even if it ultimately seems a bit pointless.
GiraffeDoor6 June 2019
I saw this ages ago but I decided to review it when I found out it was by the same guy who did the "Creep" movies. How about that. I like finding out things like that.
This movie is quite singular. It has this unassuming, disquieting power, like the first act of thriller where everyone thinks everything is fine until everything isn't. With limited characters, setting and time lapse (it is indeed the events of a night) the effect relies on making sure the characters are vivid and three dimensional and they all just pop of the screen.
It always has this sense of build up to something immense and never quite pays off so I'm tempted to say it's more like one of half or two thirds of a great movie without really being a great movie itself, though its a great two thirds.
it's on one level very simple; an innocent rendez-vous of an inhibited couple and an exhibitionist couple leads us to find that neither is exactly what they seem.
it's not really a profound or vivid narrative. It's more like those dinner parties you have in your life where the conversations plus the wine makes you think you've had an epiphany on how to unlock the potential of living until the next morning where you just get to work as usual.
it's definitely the journey not the destination and you get an agreeable amount of frankness about human sexuality. it's not always easy viewing but it shows an admirable amount of restraint in its script.
Memorable but I still feel a bit at a loss for what it was even trying to say.
This movie is quite singular. It has this unassuming, disquieting power, like the first act of thriller where everyone thinks everything is fine until everything isn't. With limited characters, setting and time lapse (it is indeed the events of a night) the effect relies on making sure the characters are vivid and three dimensional and they all just pop of the screen.
It always has this sense of build up to something immense and never quite pays off so I'm tempted to say it's more like one of half or two thirds of a great movie without really being a great movie itself, though its a great two thirds.
it's on one level very simple; an innocent rendez-vous of an inhibited couple and an exhibitionist couple leads us to find that neither is exactly what they seem.
it's not really a profound or vivid narrative. It's more like those dinner parties you have in your life where the conversations plus the wine makes you think you've had an epiphany on how to unlock the potential of living until the next morning where you just get to work as usual.
it's definitely the journey not the destination and you get an agreeable amount of frankness about human sexuality. it's not always easy viewing but it shows an admirable amount of restraint in its script.
Memorable but I still feel a bit at a loss for what it was even trying to say.
Strangely brilliant!!
subxerogravity30 June 2015
This is the second movie I've seen were The Duplass brothers are involved in a story about a couple who finds an interesting way to spice up their relationship (Although what the Overnight does is far less surreal than what happens in The one I Love).
In the case of the Overnight one couple attempts to seduce another couple during a dinner party, making a very awkward situation .
The movie acts like one big joke setting up a huge punchline that makes you role on the floor with laughter.
I like how simple the how movie was. It mostly takes place in one area, but the dialog going back and forth between the couples was interesting, especially during the overnight itself.
You also get to see some strange full frontal male nudity, done of course for comedy effect, if your interested, and it sets up an extremely funny gag that has a long lasting effect for the movie.
Overall, it's a funny dark comedy about how to deal with that cross road when something is slightly wrong with your relationship and it's time perfectly to keep my attention.
In the case of the Overnight one couple attempts to seduce another couple during a dinner party, making a very awkward situation .
The movie acts like one big joke setting up a huge punchline that makes you role on the floor with laughter.
I like how simple the how movie was. It mostly takes place in one area, but the dialog going back and forth between the couples was interesting, especially during the overnight itself.
You also get to see some strange full frontal male nudity, done of course for comedy effect, if your interested, and it sets up an extremely funny gag that has a long lasting effect for the movie.
Overall, it's a funny dark comedy about how to deal with that cross road when something is slightly wrong with your relationship and it's time perfectly to keep my attention.
What a Letdown
robtaday23 April 2016
Warning: Spoilers
Yet another boring story about thirty-somethings who are straight but oh soooo curious. Another story about guys who struggle with what that means today. Can I kiss another guy? Can I jerk another guy off? Can I fantasize about another guy's penis and still be straight? Can I? Can I? Please, Can I?
Yeah, our kids are upstairs, we just met, but let's smoke dope and get naked and go to massage parlors and discuss male assholes and get you to be an asshole model and yeah, you've got a small penis so of course both you AND your wife will want some of mine, etc.
And what is with all the understanding? Why not call the freaks what they are and get your kid and get the hell out of there? But nooooooo. And not only that, we can still be friends can't we? SURE!!!!! Wasn't last night interesting? The kids really hit it off, didn't they? I'll call you. Okay. Pathetic.
Yeah, our kids are upstairs, we just met, but let's smoke dope and get naked and go to massage parlors and discuss male assholes and get you to be an asshole model and yeah, you've got a small penis so of course both you AND your wife will want some of mine, etc.
And what is with all the understanding? Why not call the freaks what they are and get your kid and get the hell out of there? But nooooooo. And not only that, we can still be friends can't we? SURE!!!!! Wasn't last night interesting? The kids really hit it off, didn't they? I'll call you. Okay. Pathetic.
Alex & Emily & Kurt & Charolette
StevePulaski4 July 2015
Alex and Emily (Adam Scott and Taylor Schilling) are high school sweethearts who have just moved from Seattle to Los Angeles with their young son. With a mediocre sex life and an apprehension to making friends, the two are surprised to find themselves acquainted with Kurt and Charlotte (Jason Schwartzman and Judith Godrèche) almost immediately after moving into their home. Kurt and Charlotte are just a wee bit eclectic to say the least, with Kurt claiming to have made a large amount of money by providing a complex water-filtering system to third-world countries that turns water into sewage and Charlotte claiming to be infrequent actress. Nonetheless, the two couples and their children get together at Kurt and Charlotte's house for a night of drinks, marijuana, and lengthy conversations about nothing and everything.
Instantaneously, Patrick Brice's "The Overnight" reminds of two films. It bears a narrative resemblance to Noah Baumbach's "While We're Young," an immensely funny, overlooked comedy from earlier this year that worked to examine the relationships between a millennial couple and a middle-aged couple. In addition, the film echoes the sentiments of Roman Polanski's "Carnage" in that it pairs two unlikely couples together by circumstance that get along and argue based on the merits of their own personalities. "The Overnight" rolls both films into one package that works in spite of its notable shortcomings.
To get those out of the way, "The Overnight" has a funny way of being low-key in its comedy at times and too broad at others. Consider the absurdity and the looks on the faces of Alex and Emily when Kurt reveals to them that he bought a bulk package of bathrobes online. That's the quiet humor these kinds of independent, mumblecore-style comedies traditionally utilize. Now consider the scene where Kurt shows Alex his various paintings he calls "portals," which are stylized and heavily colored pictures of the anuses of many of his friends, even his wife. There's a notable divide in the humor on display here, with some jokes aiming to be too broad and far-reaching to be taken seriously when everything else in the film is uniformly realistic.
However, that's kind of the beauty in "The Overnight" - its ability to take characters that can function as caricatures with deep, contemplative human feelings is something that I don't think I've ever seen done before, and if so, not this competently executed. Brice is careful never to draw his characters in broadstrokes, but rather, some of their situations. He makes Alex and Emily the traditional couple, one that adheres to the principles of monogamy and becomes shocked when they realize that the desire to sleep with someone else is still present in both of their minds. Kurt and Charlotte exhibit a much more liberal sense of love, which is the whole reason they invited Alex and Emily over and the first place (the film doesn't really reveal why until the end, yet most moviegoers, seasoned or casual, will likely be able to pick up what's being put down from early on).
This contrast almost always makes for a film that's fiercely watchable and bitingly funny, which "The Overnight" often is. Its simultaneous absurdity in its situations and likable, relatable characters make this film fun and endearing. For the first time that I can remember, Adam Scott plays not only a likable character, but a believable one, not basking in the idiocy of several unlikable traits nor being the metaphorical dart board for other characters to gleefully jab at. Taylor Schilling also gets probably the most fun role she has yet to have, as she delivers her character's anxiety richly and believably. Finally, it almost goes without saying that Schwartzman is fun here, cocky as usual but almost annoyingly quaint, a character he has always been able to play to a tee, and when assisted by the perky Godrèche, he's only made better.
"The Overnight" is also something that will surprise the brave moviegoers that choose to seek it out in a season traditionally crowded with films, and this year being no exception. At only seventy-six minutes without credits, "The Overnight" gives audience more to think about than the typical lackluster romantic-comedy fare that frequently lasts an upwards of two hours. Its pervasive casualness and chill demeanor makes you forget that you're watching a very intriguing depiction and critique of modern romances, done with elements of caricatures and very realistic dialog. With this technically being Brice's first film (his other film "Creep" is available on iTunes at the moment and is one of my favorite films of the year), he shows incredible prose and talent for depicting modern relationships. These kinds of films have an impact that will last much longer than the end credits of other films of this same genre.
Instantaneously, Patrick Brice's "The Overnight" reminds of two films. It bears a narrative resemblance to Noah Baumbach's "While We're Young," an immensely funny, overlooked comedy from earlier this year that worked to examine the relationships between a millennial couple and a middle-aged couple. In addition, the film echoes the sentiments of Roman Polanski's "Carnage" in that it pairs two unlikely couples together by circumstance that get along and argue based on the merits of their own personalities. "The Overnight" rolls both films into one package that works in spite of its notable shortcomings.
To get those out of the way, "The Overnight" has a funny way of being low-key in its comedy at times and too broad at others. Consider the absurdity and the looks on the faces of Alex and Emily when Kurt reveals to them that he bought a bulk package of bathrobes online. That's the quiet humor these kinds of independent, mumblecore-style comedies traditionally utilize. Now consider the scene where Kurt shows Alex his various paintings he calls "portals," which are stylized and heavily colored pictures of the anuses of many of his friends, even his wife. There's a notable divide in the humor on display here, with some jokes aiming to be too broad and far-reaching to be taken seriously when everything else in the film is uniformly realistic.
However, that's kind of the beauty in "The Overnight" - its ability to take characters that can function as caricatures with deep, contemplative human feelings is something that I don't think I've ever seen done before, and if so, not this competently executed. Brice is careful never to draw his characters in broadstrokes, but rather, some of their situations. He makes Alex and Emily the traditional couple, one that adheres to the principles of monogamy and becomes shocked when they realize that the desire to sleep with someone else is still present in both of their minds. Kurt and Charlotte exhibit a much more liberal sense of love, which is the whole reason they invited Alex and Emily over and the first place (the film doesn't really reveal why until the end, yet most moviegoers, seasoned or casual, will likely be able to pick up what's being put down from early on).
This contrast almost always makes for a film that's fiercely watchable and bitingly funny, which "The Overnight" often is. Its simultaneous absurdity in its situations and likable, relatable characters make this film fun and endearing. For the first time that I can remember, Adam Scott plays not only a likable character, but a believable one, not basking in the idiocy of several unlikable traits nor being the metaphorical dart board for other characters to gleefully jab at. Taylor Schilling also gets probably the most fun role she has yet to have, as she delivers her character's anxiety richly and believably. Finally, it almost goes without saying that Schwartzman is fun here, cocky as usual but almost annoyingly quaint, a character he has always been able to play to a tee, and when assisted by the perky Godrèche, he's only made better.
"The Overnight" is also something that will surprise the brave moviegoers that choose to seek it out in a season traditionally crowded with films, and this year being no exception. At only seventy-six minutes without credits, "The Overnight" gives audience more to think about than the typical lackluster romantic-comedy fare that frequently lasts an upwards of two hours. Its pervasive casualness and chill demeanor makes you forget that you're watching a very intriguing depiction and critique of modern romances, done with elements of caricatures and very realistic dialog. With this technically being Brice's first film (his other film "Creep" is available on iTunes at the moment and is one of my favorite films of the year), he shows incredible prose and talent for depicting modern relationships. These kinds of films have an impact that will last much longer than the end credits of other films of this same genre.
Nothing special - no need to stay the night
kaptenvideo-8987525 December 2017
Two couples (Jason Schwartzman and Judith Godrèche / Adam Scott and Taylor Schilling from "Orange Is the New Black") make a playdate which grows into something more than sipping wine and watching the children play together.
Found this little indie thing in Netflix, watched it to see Scott and Schwartzman who have a habit of appearing in comedies that I like (in addition to many generic movies but whatever, I like those dudes).
"The Overnight" is not really a drama nor comedy but a tale of relationships: what makes us get together and stay together.
Despite the promising topic and pretty cool promos, It does not really go anywhere. There's no suspense of any kind (surely a killing blow to any movie about relationships) and the approach is too improvisational (a lot of dialogue, mostly just talk-talk-talk without any memorable lines or highlights).
But hey, I saw my dudes and it's over quickly, in 83 minutes.
Exec produced by the Duplass brothers which gives you strong hint about what to expect from the general vibe.
Written and directed by one Patrick Brice, whose only previous movie was horror "Creep". Whatever this means.
Found this little indie thing in Netflix, watched it to see Scott and Schwartzman who have a habit of appearing in comedies that I like (in addition to many generic movies but whatever, I like those dudes).
"The Overnight" is not really a drama nor comedy but a tale of relationships: what makes us get together and stay together.
Despite the promising topic and pretty cool promos, It does not really go anywhere. There's no suspense of any kind (surely a killing blow to any movie about relationships) and the approach is too improvisational (a lot of dialogue, mostly just talk-talk-talk without any memorable lines or highlights).
But hey, I saw my dudes and it's over quickly, in 83 minutes.
Exec produced by the Duplass brothers which gives you strong hint about what to expect from the general vibe.
Written and directed by one Patrick Brice, whose only previous movie was horror "Creep". Whatever this means.
Sometimes, at a party you don't really know whats going on... Then, when you think a little later and the only word you can say is F*****************CK!
afallguns8 September 2015
Warning: Spoilers
First of all... F************************CK!
Moving on!
Earlier this year, when the trailer to overnight was released, I was sure that I would watch it and it would be awesome, for three reasons: Adam Scott, Jason Schwartzman and the Duplass Brothers. That far I was already sold! Then you got Taylor Schilling and Judith Godrèche, two beautiful and very talented women, in a plot about "swinging". Shut up and take my money!
In the start, it felt like Noah Baumbach's "While We're Young". The uptight couple meets the hipsters and so and so. For a minute I thought that it would be silly, when Jason Schwartzman came on screen at first. But it turned alright or even better with the development of the characters.
The four actors were totally in tune, and each one of them filled completely their spot, like pieces of a puzzle, fitting exactly in their places and together creating a image. Kurt the all-over-the- place host, being the smooth, nice and easy, confident and attractive as it gets; Charlotte, the foreigner wife, sexy and exotic, that beauty of the unknown, the dubious french woman; Alex as the uptight and insecure guy, looking for someone else's approval; and at last, not least, Emily the perfect guest and faithful wife, who don't let the embarrassment become a border between she and her hosts.
It is the first time I watched Taylor Schilling work, but I was aware of her award worth acting in Jenji Kohan's "Orange is The New Black", so I didn't expect anything but good and sincere performance, and gladly she did not let me down. I might say that, analyzing the individual performances, she was the real deal in the movie. She was so sincere with the camera, that anything that her character felt was real, don't matter if she was uncomfortable, horny, suspicious or jealous. Emily was less of a character and more of a real person. Different than the other three characters. Kurt and Charlotte were some kind of caricature, they were in a super reality, stuff you don't usually see in real life (That doesn't mean that people like Kurt and Charlotte don't walk through the real world). And Alex. Well, I feel like Adam Scott played that role a couple times already, the most recent I think is in Stu Zicherman's "A.C.O.D.".
Despite all of that, as I said, all their performances together were amazing. Product of a brilliant work in the script as well in the directing. Patrick Brice deserve all the compliments for his second featured film (I think it is considered featured film with 79 minutes, right?).
The story is very clever. It is a portrait of the marriage at the 21st century, and the sexual life of couples with young kids. It talks about insecurities, curiosity and acceptance. It the full plate. One of my favorite scenes is the first one, where Alex and Emily were having a morning sex, and they got trouble to reach the climax with each other, and their son interrupt them. It was a really good start!
Directing. As I said it was fearless. And very sincere. And to me what made this movie a winner. The montages of the two couples partying together, were extremely fun. The body language was captured at its details, and Patrick Brice shown to the audience what the audience needed to see, to understand what the hell was going on. Showing a full nude of a human being on screen is kind of hard. But in this movie was necessary. People needed to compare both genitalia, Kurt's and Alex's, to say "No, that's really an issue!". A visual euphemism would not work. You would see Jason Schwartzman and Adam Scott, don't matter how big or how small both penises were. And you got Kurt and Charlotte, the free spirits. Alex's breakthrough. Again visual euphemism wouldn't work. AND IS A MOVIE ABOUT SEX LIFE FOR CHRIST'S SAKE! Would be hypocrite not show anything.
I admit that I wasn't totally comfortable with the scenes with the full nude. I think that my reaction was pretty much like Emily's reaction. I was embarrassed, cause people don't just take off their underwear and walk around naked as if it was nothing. But it turned out O.K.! I got the idea. This isn't porn cause it showed a penis.
But for me the most intelligent shot was the climax scene, when after a group hug, the four characters fall into bed and start the foursome, the director didn't put some music playing in the background. No dialogue either. It was completely silent, except for the sound of their kisses. It felt again like the real thing, not some artificial situation with a cute or sexy music, to symbolize something. It was just the characters.
Anyway. It is a must see. And open your mind just a little bit, before watching it. I assure you it will be a lot of fun.
Moving on!
Earlier this year, when the trailer to overnight was released, I was sure that I would watch it and it would be awesome, for three reasons: Adam Scott, Jason Schwartzman and the Duplass Brothers. That far I was already sold! Then you got Taylor Schilling and Judith Godrèche, two beautiful and very talented women, in a plot about "swinging". Shut up and take my money!
In the start, it felt like Noah Baumbach's "While We're Young". The uptight couple meets the hipsters and so and so. For a minute I thought that it would be silly, when Jason Schwartzman came on screen at first. But it turned alright or even better with the development of the characters.
The four actors were totally in tune, and each one of them filled completely their spot, like pieces of a puzzle, fitting exactly in their places and together creating a image. Kurt the all-over-the- place host, being the smooth, nice and easy, confident and attractive as it gets; Charlotte, the foreigner wife, sexy and exotic, that beauty of the unknown, the dubious french woman; Alex as the uptight and insecure guy, looking for someone else's approval; and at last, not least, Emily the perfect guest and faithful wife, who don't let the embarrassment become a border between she and her hosts.
It is the first time I watched Taylor Schilling work, but I was aware of her award worth acting in Jenji Kohan's "Orange is The New Black", so I didn't expect anything but good and sincere performance, and gladly she did not let me down. I might say that, analyzing the individual performances, she was the real deal in the movie. She was so sincere with the camera, that anything that her character felt was real, don't matter if she was uncomfortable, horny, suspicious or jealous. Emily was less of a character and more of a real person. Different than the other three characters. Kurt and Charlotte were some kind of caricature, they were in a super reality, stuff you don't usually see in real life (That doesn't mean that people like Kurt and Charlotte don't walk through the real world). And Alex. Well, I feel like Adam Scott played that role a couple times already, the most recent I think is in Stu Zicherman's "A.C.O.D.".
Despite all of that, as I said, all their performances together were amazing. Product of a brilliant work in the script as well in the directing. Patrick Brice deserve all the compliments for his second featured film (I think it is considered featured film with 79 minutes, right?).
The story is very clever. It is a portrait of the marriage at the 21st century, and the sexual life of couples with young kids. It talks about insecurities, curiosity and acceptance. It the full plate. One of my favorite scenes is the first one, where Alex and Emily were having a morning sex, and they got trouble to reach the climax with each other, and their son interrupt them. It was a really good start!
Directing. As I said it was fearless. And very sincere. And to me what made this movie a winner. The montages of the two couples partying together, were extremely fun. The body language was captured at its details, and Patrick Brice shown to the audience what the audience needed to see, to understand what the hell was going on. Showing a full nude of a human being on screen is kind of hard. But in this movie was necessary. People needed to compare both genitalia, Kurt's and Alex's, to say "No, that's really an issue!". A visual euphemism would not work. You would see Jason Schwartzman and Adam Scott, don't matter how big or how small both penises were. And you got Kurt and Charlotte, the free spirits. Alex's breakthrough. Again visual euphemism wouldn't work. AND IS A MOVIE ABOUT SEX LIFE FOR CHRIST'S SAKE! Would be hypocrite not show anything.
I admit that I wasn't totally comfortable with the scenes with the full nude. I think that my reaction was pretty much like Emily's reaction. I was embarrassed, cause people don't just take off their underwear and walk around naked as if it was nothing. But it turned out O.K.! I got the idea. This isn't porn cause it showed a penis.
But for me the most intelligent shot was the climax scene, when after a group hug, the four characters fall into bed and start the foursome, the director didn't put some music playing in the background. No dialogue either. It was completely silent, except for the sound of their kisses. It felt again like the real thing, not some artificial situation with a cute or sexy music, to symbolize something. It was just the characters.
Anyway. It is a must see. And open your mind just a little bit, before watching it. I assure you it will be a lot of fun.
a different type of movie but the actors fit their roles and the comedy is there.
andre_andreas198728 June 2015
I have not seen too many movies where there are only a handful of actors and the setting is mostly in one place. I have seen a few movies with the male actors but I never found them special or good actors, but they both fit their characters. One of them was naive and new to the "wild" things and the other one was a hipster free spirited painter. Plus there were some human emotions and desires that are true and very possible, but couples do not talk about it because it is different and taboo. My life is no where close to anything like that but I found it acceptable and not dirty. The movie is more about basic desires that any person would have but would not be comfortable to talk about. Very smart movie and you should watch it so you wont be surprised when you see such things in real life.
Exactly what you'd expect and less
doorknob-225 September 2015
Warning: Spoilers
The movie wasn't awful in terms of acting or directing. What I found horrendous was that it is EXACTLY what you expect from the trailer. Exactly. Take the trailer, play it in slow motion for a bit over an hour - there's the movie.
It's designed to make you uncomfortable. It does that.
Does the trailer look like it has a swinger vibe to it? Well, what could they possibly do to add a "twist" for two (potentially) swinging couples? If you don't see the end coming from a mile away, you're not thinking very hard.
What the movie taught me is that these are people I definitely do not want to know. Maybe you do. Whatever.
That said, the entire reason I wrote this review is to say, with certainty, that the individuals who wrote the other reviews complaining about the male nudity have NEVER SEEN A NUDE MALE. These were soooo clearly rubber prosthetics that there appearance was probably the only time I laughed in the movie.
I love Adam Scott. I think the Duplass brothers have some talent. I don't think this movie is a comedy by any stretch of the imagination. I'll call it an idiotic version of the Ice Storm.
It's designed to make you uncomfortable. It does that.
Does the trailer look like it has a swinger vibe to it? Well, what could they possibly do to add a "twist" for two (potentially) swinging couples? If you don't see the end coming from a mile away, you're not thinking very hard.
What the movie taught me is that these are people I definitely do not want to know. Maybe you do. Whatever.
That said, the entire reason I wrote this review is to say, with certainty, that the individuals who wrote the other reviews complaining about the male nudity have NEVER SEEN A NUDE MALE. These were soooo clearly rubber prosthetics that there appearance was probably the only time I laughed in the movie.
I love Adam Scott. I think the Duplass brothers have some talent. I don't think this movie is a comedy by any stretch of the imagination. I'll call it an idiotic version of the Ice Storm.
Not Perfect But Offers a Unique and Funny Story
SLUGMagazineFilms26 January 2015
While The Overnight has a few flaws in its execution, the chemistry among the principal actors comes close to making up for them. Having just moved to Los Angeles, Alex (Adam Scott), Emily (Taylor Schilling), and their son R.J. (R.J. Hermes) are eager to extend their social circle. When they meet Kurt (Jason Schwartzman), he invites them all over for an overnight playdate with his wife Charlotte (Judith Godréche) and Max (Max Moritt). After their children go to sleep for the night, the evening becomes increasingly weird and suburban debauchery ensues. It's the awkward bromance that begins to develop between Alex and Kurt that ends up driving the narrative. Scott is great at playing the slightly neurotic everyman, and he explores his character's insecurities about his masculinity (or in Alex's words, his abnormally small dick) with his usual brand of self-deprecating charm. The character of Kurt is the quintessential Los Angeles hipster, and Schwartzman completely owns it. His effortless cool perfectly complements Scott's nervous tension, and the scenes in which these two bond over art and their penises (both Scott and Schwartzman don prosthetic dongs in a memorable skinny dipping scene) are hilarious. Schilling and Godréche offered solid performances, but their characters didn't seem as fleshed out as their male counterparts. It's not a perfect film, but it offers a unique and funny story about what people are willing to do in order to strengthen a marriage. –Alex Springer
as far as wild indie sex comedies it'd be a fine B-side to Humpday
Quinoa19842 May 2016
Warning: Spoilers
If I were to look really deep at The Overnight I think I would both find not a whole lot there and yet a lot there at the same time. This might not make much sense, but Patrick Brice has a fairly thin narrative at heart - a couple gets invited over for dinner and drinks and to uh hang out at a new friendly couple's place (they've just moved to California so there's some culture clash at the least) and hi-jinks ensue of course but in the 'lewd' sense) - and yet it's also a movie about masculinity and what it means to have power over someone in sexual situations and in bed in general.
The Adam Scott character Alex, as the prime example, is a little concerned about the size of his you-know-what, and it's not in a way of making a running joke about it (Howard Stern used to do that a lot), but in a terrified/petrified sort of way that gets emphasized, so to speak, when Schwartzman's character Kurt shows his as there's a skinny dipping scene (it's basically like a Dirk Diggler moment). How does he get the courage to show it? Well, somehow, through some uh male encouragement he does, and then that becomes a thing not so much for Alex but for Emily (Taylor Schilling), like, what is he trying to prove here? What's going to happen from here, such as a swinging thing?
There's some explicit territory here, but the key thing is that it's a sex comedy and that a lot of the sex is messy and awkward and because of that it's funnier. Kurt's wife (a French actress I'm not familiar with but is quite good here, Godreche) does the 'dabbling' in massages, and of course when she finally shows what she does to Emily it's the naughty kind. This is somewhat predictable, but it's still revealed and shot in a way that is meant to be genuinely shocking for Emily, and for us as well. By this point in the movie it feels like there shouldn't be much else to shock us but there is more, and I wouldn't want to reveal it even in a spoilery-review.
Suffice it to say the movie is funny, and at times it's very funny. It may be sort of soft targets - the hipster elite in California where the guy is an 'artist' who draws, yes, assholes, literally, and there's the way that Schwartzman plays this guy that is kind of like what might've happened to one of his Wes Anderson characters (i.e. Max in Rushmore) if he somehow got to California and specialty internet porn and married a French woman. So it's both awkward and in its way quirky, but also dark, which is what I might've responded to the most. The fact that the movie isn't afraid to go 'there' or wherever the hell the next 'there' might be is exciting and unpredictable. If nothing else he's the reason to see the movie, but across the board the four main actors are excellent (Scott is filling a role it feels like he's played before in stuff like Friends with Kids, the nice guy with issues, but he can pull it off, and Schilling is... Schilling, Piper from OitNB).
It functions more like an expanded short film, it has a closer scope and feel to that, but the characters were well drawn out, it knows how to pace itself so there's some space in-between the comedy to get to know these people and develop relationships over one night, and the climax is just about the uproariously funny thing you'll see in any movie, spot-perfect-awesome timing that is also a callback to something earlier in the film. It's an engaging, funny movie about sexual politics, and though it seems a little thin on the surface (the Duplass brothers produced and it's really a film they'd make, though it's directed by someone else), it's got a lot to say while seeming like it's not saying much, if that makes sense.
The Adam Scott character Alex, as the prime example, is a little concerned about the size of his you-know-what, and it's not in a way of making a running joke about it (Howard Stern used to do that a lot), but in a terrified/petrified sort of way that gets emphasized, so to speak, when Schwartzman's character Kurt shows his as there's a skinny dipping scene (it's basically like a Dirk Diggler moment). How does he get the courage to show it? Well, somehow, through some uh male encouragement he does, and then that becomes a thing not so much for Alex but for Emily (Taylor Schilling), like, what is he trying to prove here? What's going to happen from here, such as a swinging thing?
There's some explicit territory here, but the key thing is that it's a sex comedy and that a lot of the sex is messy and awkward and because of that it's funnier. Kurt's wife (a French actress I'm not familiar with but is quite good here, Godreche) does the 'dabbling' in massages, and of course when she finally shows what she does to Emily it's the naughty kind. This is somewhat predictable, but it's still revealed and shot in a way that is meant to be genuinely shocking for Emily, and for us as well. By this point in the movie it feels like there shouldn't be much else to shock us but there is more, and I wouldn't want to reveal it even in a spoilery-review.
Suffice it to say the movie is funny, and at times it's very funny. It may be sort of soft targets - the hipster elite in California where the guy is an 'artist' who draws, yes, assholes, literally, and there's the way that Schwartzman plays this guy that is kind of like what might've happened to one of his Wes Anderson characters (i.e. Max in Rushmore) if he somehow got to California and specialty internet porn and married a French woman. So it's both awkward and in its way quirky, but also dark, which is what I might've responded to the most. The fact that the movie isn't afraid to go 'there' or wherever the hell the next 'there' might be is exciting and unpredictable. If nothing else he's the reason to see the movie, but across the board the four main actors are excellent (Scott is filling a role it feels like he's played before in stuff like Friends with Kids, the nice guy with issues, but he can pull it off, and Schilling is... Schilling, Piper from OitNB).
It functions more like an expanded short film, it has a closer scope and feel to that, but the characters were well drawn out, it knows how to pace itself so there's some space in-between the comedy to get to know these people and develop relationships over one night, and the climax is just about the uproariously funny thing you'll see in any movie, spot-perfect-awesome timing that is also a callback to something earlier in the film. It's an engaging, funny movie about sexual politics, and though it seems a little thin on the surface (the Duplass brothers produced and it's really a film they'd make, though it's directed by someone else), it's got a lot to say while seeming like it's not saying much, if that makes sense.
Pretty funny, not-stupid modern comedy.
gooseshaw10 June 2020
I'm kind of surprised at the ratings for this movie. Aside from the degenerate actions of the characters, I thought it was pretty funny.
This soon turns into a downward spiral. Similar to many typical raunchy comedies, our middle aged characters (all parents of small children) get drunk and smoke pot like a bunch of failed teenage high-school drop outs. Eventually we their actions turn more and more sexual, past the point that you, the viewer, are convinced of some sort of swinger conspiracy.
The story goes on and some motivations are realized. There's not really any moral lesson to this movie, so don't expect that. I won't spoil the ending but I will say I was hoping for something different.
Regardless, I thought the movie was funny and entertaining and awkward, just as it was meant to be. I don't connect with these characters in any way, and would never find myself in a position such as theirs, but from an outsiders perspective, it was an interesting ride.
This soon turns into a downward spiral. Similar to many typical raunchy comedies, our middle aged characters (all parents of small children) get drunk and smoke pot like a bunch of failed teenage high-school drop outs. Eventually we their actions turn more and more sexual, past the point that you, the viewer, are convinced of some sort of swinger conspiracy.
The story goes on and some motivations are realized. There's not really any moral lesson to this movie, so don't expect that. I won't spoil the ending but I will say I was hoping for something different.
Regardless, I thought the movie was funny and entertaining and awkward, just as it was meant to be. I don't connect with these characters in any way, and would never find myself in a position such as theirs, but from an outsiders perspective, it was an interesting ride.
could be more awkward and need more material
SnoopyStyle27 November 2015
Alex (Adam Scott) and Emily (Taylor Schilling) move to L.A. with their son R.J. One day at the park, R.J. befriends Max. Max's father Kurt (Jason Schwartzman) invites them over for a visit. The adults spend time together that night and strange things start bubbling up. Kurt has a hobby of painting butt-holes. Charlotte (Judith Godrèche) acts in milk-pumping videos. Kurt goes skinny dipping and he's revealed to have a giant dick. Alex is immediately taken back with insecurity about his micro dick.
I wouldn't call it funny. It's a little uncomfortable but mostly endearingly weird. I get a feeling that Scott and Schwartzman should be a lot more wacky or a lot more awkward. The movie sets up a lot of weirdness but it's a little too nice about it. The naked dancing is great. It's also a little short which gives off a feeling of a need for more material.
I wouldn't call it funny. It's a little uncomfortable but mostly endearingly weird. I get a feeling that Scott and Schwartzman should be a lot more wacky or a lot more awkward. The movie sets up a lot of weirdness but it's a little too nice about it. The naked dancing is great. It's also a little short which gives off a feeling of a need for more material.
Frequently amusing adult comedy
george.schmidt28 June 2015
Warning: Spoilers
THE OVERNIGHT (2015) **1/2 Adam Scott, Taylor Schilling, Jason Schwartzman, Judith Godreche. Frequently amusing adult comedy about newly relocated couple Scott & Schilling to California become fast friends (and perhaps more) with would-be-swingers Schwartzman & Codreche in one night to remember (or perhaps forget). While echoing such sex comedies as "Bob & Carol & Ted & Alice" among others, there is a clever mix of cynicism and sentiment buoyed largely by its talented quartet and Patrick Brice's script and direction allows just enough awkwardness to emerge thru the end result of strange bedfellows indeed. Scott and Schwartzman work well with their blend of deadpan and outrageousness nicely without falling into a sketch comedy gone wrong.
Waste of time
myreviewss12 October 2019
Warning: Spoilers
My 3 Stars are for the sexual tension they created, the script was decent and the fact that they let the characters dare to be different. But it was more of a tease, Things didn't make sense, and it just left me confused. Not something I would watch again & I wouldn't recommend.
7.5/10
trvlers-7792025 June 2015
Warning: Spoilers
There's a strange thing that happens when you become a parent. Clearly, many strange things happen. But one of the primary ones is that you get a whole new set of friends. These are parent friends: people you probably never would have met otherwise, but with whom you now have this fundamental and cosmic thing in common. An instant bond, if you will, whether you want it or not. Maybe they're the parents of a kid in your son's kindergarten class or your daughter's soccer team. Maybe they're a random couple or a single dad you meet at the park. And along with meeting these people comes a whole new vulnerability. You're putting yourself out there for acceptance, all over again, as a grown person. You want your kids to get along, but, crucially, you want to be liked, too. It's a tricky balance to strike, and it's fraught with potential for some unlikely alliances. Writer/director Patrick Brice completely gets that dynamic—and explores it for deliciously awkward comedy—in "The Overnight." Brice's brisk and beguiling little indie takes you in various directions over the course of a long evening, but not necessarily the ones you might expect. You may think you know where a certain scene is headed—and it doesn't go there, or it goes there with a slight twist or detour. His film is deft and delicate and exquisitely uncomfortable, but it also offers revelations that are joyful, sad and true. It helps greatly that Brice has assembled a group of actors who are game for every adventure in Adam Scott, Taylor Schilling, Jason Schwartzman and Judith Godreche. They all get opportunities to shine and flex their muscles, in large and small ways, both as a foursome and in various permutations of paired-off couples. It's hard to write about this movie without giving too much away, but here goes
Scott and Schilling star as Alex and Emily, a married couple in their 30s who've just moved with their young son, RJ, from Seattle to a trendy section of Los Angeles. They know no one and they long to make friends—especially Alex, who's a bit more unmoored than Emily, who has an actual job in L.A. One morning at the local playground, their son connects quickly with another boy who's about his age. The boy's dad (Schwartzman's Kurt) walks over and greets Alex and Emily with a familiarity that's simultaneously intriguing and odd. In no time, he's invited all three of them to a casual pizza night at their house with his wife and son. It'll be a good chance for the boys to play some more and for the two couples to get to know each other, Kurt says. Relieved at the prospect of making new friends, they say yes, figuring that the worst thing that can happen is sharing a couple glasses of wine with a couple of bores. The fact that they don't quite know what to make of Kurt—with his hipster dress and hearty demeanor—sets the tone for the rest of the film. (Schwartzman keenly plays with his sometimes off-putting, know-it-all persona.) And when they walk through the gates of Kurt's Spanish-style mansion in the hills, only to be greeted by his glamorous and gorgeous French wife, Charlotte (Godreche), they feel even more intimidated and insecure. But Kurt and Charlotte go out of their way to make their new friends feel welcome, including lulling the boys to sleep in an upstairs bedroom after dinner to allow the adults to stay up and party longer. And that's about all I'm going to say about that. Suffice it to say, the couples get to know each other in ways they never could have imagined at the outset, with some moments of true hilarity and others that push the possibilities of absurdity. That brings up another thing that happens when you have kids: You cling to the notion that you're still young and fun and not old and lame. Brice also gets this by giving us characters who begin by being polite with each other, but end up pushing their own boundaries—and each others'—and baring their souls. (It's especially enjoyable to see Scott, best known for his improv comic abilities, get a chance to stretch with more dramatic material.) This may sound heavy, but Brice navigates the highs and lows smoothly, and his actors bring just the right energy to their ever-changing roles. Brice steadily ratchets up the tension and keeps us guessing as to what everyone's true intentions are. But eventually, the will-they-or-won't-they of a modern-day "Bob & Carol & Ted & Alice" gives way to an eeriness and a sense of true menace when the wives go on an impromptu field trip in the middle of the night. Cinematographer John Guleserian bathes the otherwise understated production in a garish, orange light during this section, which signals a shift toward heavier and more intimate terrain in the third act. "The Overnight" probably couldn't have gone on too much longer—at some point, the sun has to come up—and it may not stay with you for long after it's over. But see it with someone you love, and then just try to feel smug about the security of your own relationship afterward.
Titillation & Not Much Else
larrys324 September 2015
Warning: Spoilers
If you're just seeking titillation in a movie, or want to know the sizes of Jason Schwartzman and Adam Scott's sexual organs (although I read it was a prosthetic device joke), or what Judith Godreche's body looks like, then this film may serve that purpose. However, if you're looking for something more substantial and funnier, then this won't be that movie, in my opinion.
Scott, as Alex, his wife Emily (Taylor Schilling), and their young son RJ have just moved to Los Angeles from Seattle, and are looking to make new friends in their neighborhood. Thus, when they meet the outgoing Schwartzman, as Kurt, in a local park, with his son Max, they readily accept Kurt's invitation to join him and his wife Charlotte (Godreche) for dinner at their home.
After lots of boozing and drugs, however, and while their children sleep upstairs, the night goes from strange to progressively bizarre. However, I felt it really "copped out" at the very end, as many of these sex comedies often do.
All in all, there is some sense of intrigue and eroticism throughout the film, along with some raunchy sex scenes and language, but at the end I felt it was more of an empty shell of a movie that just never came together. Mercifully, it's only 1 hr. and 18 min. in length.
Scott, as Alex, his wife Emily (Taylor Schilling), and their young son RJ have just moved to Los Angeles from Seattle, and are looking to make new friends in their neighborhood. Thus, when they meet the outgoing Schwartzman, as Kurt, in a local park, with his son Max, they readily accept Kurt's invitation to join him and his wife Charlotte (Godreche) for dinner at their home.
After lots of boozing and drugs, however, and while their children sleep upstairs, the night goes from strange to progressively bizarre. However, I felt it really "copped out" at the very end, as many of these sex comedies often do.
All in all, there is some sense of intrigue and eroticism throughout the film, along with some raunchy sex scenes and language, but at the end I felt it was more of an empty shell of a movie that just never came together. Mercifully, it's only 1 hr. and 18 min. in length.
It's an insightful (and extremely odd) look at human nature!
Hellmant22 September 2015
'THE OVERNIGHT': Four Stars (Out of Five)
Raunchy sex comedy flick, written and directed by indie filmmaker Patrick Brice. It stars Adam Scott, Taylor Schilling, Jason Schwartzman and Judith Godreche; as two sets of parents, one conservative and one unconventional, who meet for a playdate between their two sons, which leads to much more. It was produced by Mark Duplass, Jay Duplass, Adam Scott and Naomi Scott; on a budget of just $200,000. I found it to be odd, disturbing and very funny.
Alex (Scott) and Emily (Schilling) just moved to Los Angeles, with their young son RJ (R.J. Hermes). They meet Kurt (Schwartzman), and his son Max (Max Moritt), at a park; and Kurt invites them over for a family playdate. Alex and Emily accept the invitation, and they meet Kurt's wife, Charlotte (Godreche), upon arrival. Things go from strange, to crazy, after the two kids fall asleep.
The movie is quirky, and hilariously funny, in places. Most of the time it's extremely uncomfortable, and disturbing, as well; watching these characters have these extremely awkward and bizarre encounters. That's what's so good about the movie though, even more so than it's witty humor, is just it's insightful (and extremely odd) look, at human nature. The movie is definitely worth seeing just for that.
Watch our movie review show 'MOVIE TALK' at: https://youtu.be/bOI7ZdxfHTQ
Raunchy sex comedy flick, written and directed by indie filmmaker Patrick Brice. It stars Adam Scott, Taylor Schilling, Jason Schwartzman and Judith Godreche; as two sets of parents, one conservative and one unconventional, who meet for a playdate between their two sons, which leads to much more. It was produced by Mark Duplass, Jay Duplass, Adam Scott and Naomi Scott; on a budget of just $200,000. I found it to be odd, disturbing and very funny.
Alex (Scott) and Emily (Schilling) just moved to Los Angeles, with their young son RJ (R.J. Hermes). They meet Kurt (Schwartzman), and his son Max (Max Moritt), at a park; and Kurt invites them over for a family playdate. Alex and Emily accept the invitation, and they meet Kurt's wife, Charlotte (Godreche), upon arrival. Things go from strange, to crazy, after the two kids fall asleep.
The movie is quirky, and hilariously funny, in places. Most of the time it's extremely uncomfortable, and disturbing, as well; watching these characters have these extremely awkward and bizarre encounters. That's what's so good about the movie though, even more so than it's witty humor, is just it's insightful (and extremely odd) look, at human nature. The movie is definitely worth seeing just for that.
Watch our movie review show 'MOVIE TALK' at: https://youtu.be/bOI7ZdxfHTQ
A decent movie that speaks volumes about our weaknesses and frailties.
bbakelmun-4911822 July 2016
Let me start first by saying that as a review, 6 of 10 is not a low score. I like a lot of movies, and love a lot of them for a number of different reasons. So a 6 is a good score for me, while leaving room to move into films that resonate on a more significant level.
The Overnight is not a slapstick comedy. And though it has some shock value to today's audience, it is not about that, either. It's an honest, introspective movie about relationships, complacency, complexes, and identity. The narrative plays out in a very limited time frame. The adjustment and surprise we as the audience take in in the (incredibly short) duration of the movie, is echoed in the equally awkward scenario played out by the protagonists.
Love, sex, intimacy, self-loathing. intimidation and desire are all at play in this movie. And I think it's fair to say that the situation is framed as uncomfortable. The general viewing audience (myself included) will find humour in the incredulous nature of the setups.
But there's more to it than this.
Out western society is not liberated. We have fears and hangups about who we are as partners and lovers. We judge ourselves and others, and within that yardstick, it's easy to lose sight that we're all of us just people trying to find our own happiness.
I imagine many people will be put off/offended by the homosexual overtones of this movie. But it's for exactly those reasons that I applaud it.
The heart of this movie is about acceptance. Finding yourself; your place in this world; the validity of being who you are without judgment. The Overnight lets us view this through a humorous setup, but the truth of it remains: we all want to love, and be loved, without issue or compromise. In a very simple way, this film allows us to transcend etiquette and gender, and maybe privately acknowledge all of us need love, understanding, and genuine sexual approval in order to be fulfilled.
Even as I rate it 6 of 10, this movie sends a strong, positive message I stand by. It's a brave, sincere and honest film that addresses a part of humanity we're taught to ignore or deny. I highly recommend this movie.
The Overnight is not a slapstick comedy. And though it has some shock value to today's audience, it is not about that, either. It's an honest, introspective movie about relationships, complacency, complexes, and identity. The narrative plays out in a very limited time frame. The adjustment and surprise we as the audience take in in the (incredibly short) duration of the movie, is echoed in the equally awkward scenario played out by the protagonists.
Love, sex, intimacy, self-loathing. intimidation and desire are all at play in this movie. And I think it's fair to say that the situation is framed as uncomfortable. The general viewing audience (myself included) will find humour in the incredulous nature of the setups.
But there's more to it than this.
Out western society is not liberated. We have fears and hangups about who we are as partners and lovers. We judge ourselves and others, and within that yardstick, it's easy to lose sight that we're all of us just people trying to find our own happiness.
I imagine many people will be put off/offended by the homosexual overtones of this movie. But it's for exactly those reasons that I applaud it.
The heart of this movie is about acceptance. Finding yourself; your place in this world; the validity of being who you are without judgment. The Overnight lets us view this through a humorous setup, but the truth of it remains: we all want to love, and be loved, without issue or compromise. In a very simple way, this film allows us to transcend etiquette and gender, and maybe privately acknowledge all of us need love, understanding, and genuine sexual approval in order to be fulfilled.
Even as I rate it 6 of 10, this movie sends a strong, positive message I stand by. It's a brave, sincere and honest film that addresses a part of humanity we're taught to ignore or deny. I highly recommend this movie.
Better Films to Watch
doubledoublestroubles26 September 2015
Banal Dialog, predictable storyline. The seemingly endless night depicted in this film leaves you asking, will the annoyance of watching to the end of the film also be endless?
This movie dives quickly into full frontal scenes complete with prosthetics. The script feel like they copy and pasted from a multitude of other, but failed to full explore the themes that make those films good.
Both couples in this film, go through the very commonly explored issues of trust and self-worth.
At the end of the film, you are left with 1 or 2 chuckles and not a lot else.
Waste of your time, Do not watch.
This movie dives quickly into full frontal scenes complete with prosthetics. The script feel like they copy and pasted from a multitude of other, but failed to full explore the themes that make those films good.
Both couples in this film, go through the very commonly explored issues of trust and self-worth.
At the end of the film, you are left with 1 or 2 chuckles and not a lot else.
Waste of your time, Do not watch.
See also
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