Going All the Way

I may be in the minority here, and in fact I probably am, but I LOVED this movie. The play is amazing, and the adaptation is so true to the original that it really makes the experience enjoyable. I'd like to clear one thing up that I read earlier: it's not a "suicide" scene. It's a "cutting" scene. The two are very different, and shouldn't be confused.

At any rate, the plight of Sonny Burns, the protagonist of this film, is so easy to identify with, and the way he sees Gunner is so typical and real that this film really is refreshing and understandable. The oppressive blanket of the 1950's plays another role in this film, really as one of the more important characters. Sonny doesn't know how to deal with a lot of different things, and he isn't being told/taught how to do so by his parents or his society.

It's a sad movie, but filled with hope at the same time. It's worth seeing, and for me, is worth buying on DVD whenever it freakin' comes out. I give it a 10 and stand by that rating based on its emotional merit and strength.

==ULMER'S RENTAL REVIEW= "Going All the Way," though catchy and engaging, fails to deliver what it promises so clearly, and the incompetent script makes us forget to care about these characters. Usually a film like this one shows some character progression going on. "Going All the Way" doesn't, and it's a shame, because it had some great potential.

Pre-stardom Ben Affleck is not even enough to see this movie for. He's not that different anyway: He couldn't act and he still can't.

1.5/5 stars -

John Ulmer

From what I thought was a pretty average film came the most shocking scene I've ever seen in a movie (pardon the pun).

Gunner takes out the hot chick-E-babe and Sonny gets her even hotter friend. Sonny gets all liquored up and is sooooo p***** he can't even get it up and ruins the "chance of a life time".

Well I'm told I'm not allowed to tell the rest but even if you watch the movie for this one scene, it's worth the wait. I wasn't enjoying the movie too much until this changed the tone of the movie. VERY thought provoking.

Apart from that the movie is basically: High School sports jock (Gunner) fights with nympho mum over Jewish girlfriend and loser High School photographer (Sonny) meets Gunner on train back from "war" to shock church-going parents, lose high school sweet heart and chase Gunner to New York.

Considering Rachel Weitz was in it I thought it would be better.

There were two things that shocked me about this mostly average film. First, Jeremy Davies gives almost the exact same performance as he gave in Saving Private Ryan, the tics, the mannerisms, the speech patterns, it's all there. Second, his character, an awkward, nerdy photographer home from WWII bags both Amy Locane AND Rose McGowan! Huh? Unbelievable but true.

As to the film itself, my main problem with it lay with the friendship at the center. Why does Ben Affleck's character, an outgoing, popular vet also returning from WWII, want to hang out with Davies' character when they are clearly opposites? It's never explained. Also lacking is the plot. There is none. The film simply follows those two characters around on their various exploits but there's never any kind of narrative driving the "story" from scene to scene.

All in all, the film is interesting only to see some early work by actors who have gone on to become more popular today - Affleck, Davies and McGowan.

i enjoyed this on a personal level. it is the story of sonny, a introverted and nervous photographer, and gunner, a inquisitive jock type. Both seem to want what the other has, but i wouldn't call it symbiotic because they genuinely enjoy each other's company. It is set in a sort of catcher in the rye(which i never liked because it didn't have a real purpose) sort of tone, of alienation and trying to find yourself when youre a middle class white bread kid in the constricted 50's. The only thing i found to dislike was the MTV style directing, which was overused (but still managed to capture a tone for the most part). I would suggest this.