Lymelife

Lymelife is a slice of life. It deals mainly with a family in crisis in suburbia.It addresses themes like love, family dynamics, divorce...and it is one of the most refreshing movies I've seen. Teenager Scott Bartlett played by Rory Culkin is the main character and his life is turned upside down when he finds out that his family isn't perfect,his parents relationship is deteriorating and even his older brother isn't exactly who he though it was.The only positive thing in his life is the perspective of a new love, Adrianna Bragg,played by the lovely Emma Roberts, a girl he's in love for quite some time.But Adriana has some problems of her own too,her father has contrived lyme disease and her mother is involved with Scott's father.Trough the course of the movie Scott tries to hold himself together as everything around him falls apart.As I said, this Indie film is a slice of life,all the characters are layered and complex or in other words, they are real persons, flawed and all.The story although very simple is fascinating because it reflects the every day life.Brilliant direction and great acting,specially by Rory Culkin,Alec Baldwin and Emma Roberts.Some of the themes really hit home and its hard not to relate to something or someone in this movie. Absolutely beautiful film,one of the best Indies of the year and a must-see for everyone.

8/10

This is an extremely high caliber movie whose only flaw is improperly dated and unhistorical references to the Falkland War. The performances are superb by each and every cast member and by the ensemble as a whole. It is astonishing that such a film could be made in less than a month and for $ 1 1/2 million dollars. That being said, the quick production time and low budget should not keep anyone from seeing this very important film. It is not just about the 70's but about basic human relationships and characters and truths. The director and cast should all be proud of this fine accomplishment. I urge everyone who loves movies to see this one.

Had the pleasure of seeing this at Toronto and Sundance. I'm a festival rat and do not usually comment on movies. But this film struck me in different ways on both viewings. The first time I was consumed in all of the performances, which are spectacular. The second time I was wrapped up in all of the symbolism. The reflection shots, the little fake houses, the spiritual references, the overall tone of the movie that was set by the director and his brother. Is this a perfect movie? It's as perfect a movie as you will find on the premiere festival circuit. And when I found out it was filmed on a tiny budget, I was even more impressed. It turns out to be a funny and moving story that makes you laugh a lot. The director is funny, the actors are all funny and the music is amazing. Every scene that had a song in it was completely amazing. Martin Scorsese is the producer of the film and the director is clearly a big fan. There's violence, emotion and a lot of humor. It's not about the mafia but it has a Sopranos feel to it. I can't put my finger on it, but it's there. To sum it up, it has some very heavy scenes but those scenes are peppered with hilarious moments. So it's never too dark or too heavy. It plays like a film from the 1960's or 70's. Heck of a job. I want to see more from this filmmaker.

"You can take the girl outta Queens, am I right?" Mickey Bartlett (Alec Baldwin as Mickey Bartlett)

Dysfunctional families as a theme reached its apotheosis ten years ago in Sam Mendes' American Beauty, a rich blend of realism and fancy involving real estate, coming of age, and infidelity. Just about the same territory is covered in Derick Martini's Lymelife, only this time the metaphors seem forced, the characters less developed, and the denouement less ambiguous.

Lymelife, however, is a quality addition to the deconstruction of the American dream. It's 1979 America, and Mickey Bartlett (Alec Baldwin) has a burgeoning business developing upscale homes on Long Island. His family life is in decline as witnessed by 15 year old central character Jimmy Bartlett (Kieran Culkin), the only one whose prospects with babe next door, Adrianna Bragg (Emma Roberts), get better with each of his endearing humiliations. Mickey is a philanderer (he is played by Baldwin, after all), a spendthrift, and family neglecter, all of which must be addressed by the film's ambitious albeit incomplete plot.

The story moves gently but inexorably to a strong conclusion, where things seem to settle into their appointed fates, more an affirmation that American life between here and American Beauty hasn't changed much with its defeats and victories abundant. While Lymelife (a reference to the disease present in Long Island and a cumbersome metaphor) gains no new insights about our materialism and sexual exploration, it does present a true look at a time when this American life might have been more complicated than it is now.

I can't wait for my next three-Martini film! If Lymelife can be done in less than a month, let's have at least two more before year's end––the last positioned for awards season. Yes, I worry this remarkable film will be unheralded and forgotten in eight months. I can visualize every member of this excellent cast reading the script and beginning to drool. All this tight, little character-driven story needed was a cast that knew whereof it spoke and a director who could give that cast's instincts and improvisational abilities free rein. Obviously, the Martini brothers with a cathartic, autobiographical exercise in familial dysfunction said, "Hey, the Culkins will know where we're coming from!" And do they ever! The scenes between the brothers are heartbreaking in their awareness of fraternal love and filial disillusionment.

The sexual initiation scenes are tender, funny and soooo real. The floundering, faulty adults, right on the nose! This is Timothy Hutton's best work since Ordinary People.

The 1979 setting is subtly established by the scrupulously selected music and the vehicles of the time. The only effort to tie in current events in this post-Viet Nam war-weary era is an almost subliminal reference to the takeover of the American embassy in Tehran. And this is all so right, because the characters and relationships, which is what we're here for, are timeless.

The symbolism––right up to the real estate baron bearing the cross of a For Sale sign––hits just the right note. if you have a chance to see this film, go.