Gefühlt Mitte Zwanzig

So I get what the film was aiming for, but I've gotta say, I'm incredibly shocked by its critical reception. I don't think it's "bad", really, but just thoroughly mediocre and really obnoxious. I don't know why, but something about it came off so incredibly forced and fake. It has some good acting and none of it is offensive or anything, but something about it annoyed me in a way I can't really pinpoint. I love Naomi Watts, but she was part of the problem. There just wasn't any synchrony between the performers I don't think. Either that or between their performances and the tone the film was aiming for. I'm perplexed because none of it I can really put my finger on, except that there is absolutely nothing of real note or anything that will be memorable even a day after watching it (well, that's not true, since I saw it a day ago). Not worth it

I saw the trailers for this, thought it looked funny and i like Stiller so gave it a whirl. What a mistake! This is not the comedy the trailers made it out to be, they show the best bits and when it came to watching the whole film it fell flat. This film was trying to be an intellectual dark comedy, maybe in the vein of Woody Allen but lacked the style, sophistication and plot. The mid life crisis thing, done many times before but better, the role reversal with the oldies doing the social media thing and the younger couple living like hippie bohemians felt like an attempt to be clever but just didn't feel real. The whole moral conscience thing Stiller had was muddled because of the way the plot didn't really make out that anyone had done anything very much wrong. This was deliberate but made the whole morality issue just too subtle for the audience to care. At the end i couldn't care less whether they had a baby together or not and found it all very irritating. I know it was supposed to be allegorical and therefore clever but to me at least it was just badly done and a bit pretentious.

Getting older is an odd business. We know it happens to us, every day, every month, every year. And yet, it also sneaks up on us. Suddenly, we're the oldest people in the room, with the most out-of-date vocabulary, squinting and fussing when once we used to laugh and shrug it all off. Our zest for life is rapidly depleting, and time is running out. Writer-director Noah Baumbach's While We're Young is a wise, witty look at a couple caught in between generations - they're middle- aged, by any and all measures, but are still young enough to hear the siren call of reckless adventure and self-exploration. It's a shame that Baumbach's film winds up making a far less successful segue into the realm of a psychological semi-thriller.

Filmmaker Josh (Ben Stiller) has been in a state of arrested development for years. As his friends settle down with babies and careers, he's been making the same dense, complicated documentary for close to a decade, whilst his happy marriage to Cornelia (Naomi Watts) remains in the same gear as it has for ages. But Josh gains a new lease on life when he meets Jamie (Adam Driver) and his wife Darby (Amanda Seyfried), a free-spirited pair of twenty-something-year-olds who still sparkle with the possibilities of life, hope and renewal.

While We're Young is at its best when it makes thoughtful, sharp observations about aging. In the first half of the film, Josh rushes to keep up with his new young friends, dragging Cornelia along for the ride. Suddenly, they're shaken out of the rut of their lives, wearing jaunty hats, participating in mass spiritual retreats, and forcing their less flexible bodies into hip-hop classes. Baumbach skilfully juxtaposes this with Josh and Cornelia's increasing disenchantment with their old friends, Marina (Maria Dizzia) and Fletcher (Adam Horovitz), who are caught up in a frenzy of new baby worship. Baumbach's insights are nestled within his scenes and characters - tiny lines or moments will strike home for anyone who's felt out of place for age-related reasons.

What works less well is the moody semi-thriller (possibly titled Not Quite Single White Male) that Baumbach tries to graft onto his comedy about life and aging. It plays very well at first, as Jamie reveals himself to be - just like Josh - a documentarian, and one who - unlike Josh - seems to have everything work out perfectly at every step of the filmmaking process. It's a nice contrast, because it prompts Josh to keep questioning himself about whether he has, after all, squandered away his youth on something that was never meant to be.

However, Jamie's relationship with Josh takes on a more sinister tone as the film progresses. His intentions are called into question, with the shortcuts he takes and the friends he makes bordering on the questionable. It's good character work, to be sure, but ends up confusing rather than deepening the overall narrative. By the time Josh barrels toward an awkward showdown with Jamie, Baumbach seems to have forgotten the point he was making with the film in the first place.

Nonetheless, the film is a worthy vehicle for Stiller and Watts to really dig into their characters and relationship. It's nice to see Stiller really embrace a darker, deeper role that's not quite in his wheelhouse. He pulls it off very well indeed, lending great weight and an unexpected vulnerability to Josh's insecurities. Watts, too, relishes the part of Cornelia, one of the best-written roles in recent memory for a woman in her forties. The film may ultimately belong to Josh, but Watts' Cornelia isn't merely set dressing meant to evoke a life. She's a full-fledged person in her own right, tough and tender, with her own personal heartbreaks that make her the person we see in the film.

You wouldn't think it, given their wildly divergent career paths to date, but Stiller and Watts also share plenty of chemistry. He may be better known for comedy and she for drama, but it's evident here that they can each handle both with plenty of intelligence and polish. It's a delight, therefore, to watch them navigate the tapestry of their relationship, as Josh - fired by jealousy and paranoia - starts worrying at threads of it such that it begins to unravel before Cornelia's eyes. And yet, the fact that these two characters truly love and respect each other through it all is never in doubt.

Although While We're Young may not completely come together as a coherent whole, that doesn't detract from the quiet wonders of this smart, whimsical, bitingly real film. It's a pleasure to spend time with characters this real and rounded, to recognise in them the abandon of youth and the relative stability of age. In his offbeat way, Baumbach is warning us that trade-offs between the two may be less rigid than we have been taught to expect. Like the film itself, it's a welcome insight, one that's filled with both hope and maturity.

Watching people realizing they're no longer young and hip naturally lends itself well to humor, drama, and self-examination, but the subject matter alone doesn't always naturally lend itself to a neatly formed story. The writer/director has to handle that part. Good thing this movie has Noah Baumbach.

Baumbach brings a knowing touch to this film, always seeming to strike a fitting balance between humor, drama, and analysis, all without ever feeling heavy handed or condescending. He allows his characters to show viewers the dichotomy of a young, idealistic (Adam Driver and Amanda Seyfried) juxtaposed against the aging couple (Ben Stiller and Naomi Watt) who have lost a bit of luster but are a bit in denial about their quasi-happiness.

After the couples meet and become fast friends, it's the older couple who draws inspiration from the young. They slip right back into their own youthful beliefs about the world and how they should exist in it. Some of their thoughts are meaningful, while others are sappy and, well, juvenile. Despite recognizing the silliness of the young couple's lifestyle, like watching VHS tapes and listening to records just because, it's easy as a viewer to fall under their spell. Driver and Seyfried are effortlessly charming, and their exuberance and self-certainty make them appealing role models.

The epiphany about how to live life that the young couple gives to the older one is a little too easy and convenient. Something must be off. Baumbach was simply reeling us in, making us listen more closely as he continues his story.

This is where the most crucial part of the movie arrives, and it's the one Baumbach handles with less success. Just as the salient message of the movie should be coming into focus, the story instead veers swiftly towards a grumpy take on the ethics of documentary filmmaking.

The third act is a little unsatisfying, but it is certainly not enough to erase what is on the whole an intelligent, humorous and enjoyable movie.

Gosh it went a full on talk and talk until the last 20 minutes where Josh finds the whole plot Jamie was sewing and things got really a bit interesting and intriguing .. The plot is nice , the idea is okay for a movie a middle age couple being affected by a hipster cooler one kinda stole my interest when i watched the trailer other that seeing "Ben Stiller" in it,, The script though felt so rigid and not quite easy to understand what's the story is truly about a happy ending presented in the last five minutes just popped like that ... i think it needs a deep thinkers to get what's really going on in here. The comedy was so wiped out by the drama , a couple of scenes where i was about to giggle but it went in,, the drama was just not that catchy ,, like i would watch the movie over three days pausing it in any minute.

As for the cast; well Ben Stiller, Naomi Watts, Amanda Seyfried and Adam Driver and i really expected A lot from such amazing cast but i believe with such screenplay they couldn't patch the holes that the movie slow and not quite appealing.

Overall, the movie didn't leave any remarkable effect on me, i would ever think of watching it again and sure i wouldn't recommend it to anyone.