उपयोगकर्ता समीक्षाएं

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 Suddenly, we're the oldest people in the room, with the most out-of-date vocabulary, squinting and fussing when once we used to laugh and shrug it all off.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.

5/10 might not seem like a good rating, but it's a strong 5. This movie is definitely worth seeing, but only if you're okay with mild disappointments and outdated "we can't be happy without having kids" Disney-like thinking.

Movie does indeed have a good start - Ben Stiller & Naomi Watts play their roles well and make lots of good points of how we can sometimes be unhappy with our past decisions and our lives. Movie also captures well how people change when they grow up; one ends up having kids, another focuses on his/her career or other things.

Sadly "While We're Young" doesn't grasp all that there could've been. The ending leaves you kinda sad/disappointed/with mixed feelings. To put it plainly; it doesn't deliver.

Josh (Ben Stiller) is a documentary filmmaker at a crossroads in his career after having made a good debut feature. His wife Cornelia (Naomi Watts) is a producer with a famous father as a documentary filmmaker (Charles Grodin). Now crawling towards middle age, the couple seem unfulfilled somewhat, as they are unable to have a child, unlike most of their close friends.

Enter tyro filmmaker Jamie Fletcher (Adam Driver) and his girlfriend Darby (Amanda Seyfried), two twentysomethings who not only appear full of life, but seem willing to look up to Josh as an example of a competent filmmaker. Jamie embarks on his career, and never looks back.

Noah Baumbach's film has strong echoes of ALL ABOUT EVE, with the scheming Jamie trying every trick in the book to advance himself at Josh's expense, while pretending to be friendly. Yet WHILE WE'RE YOUNG manages to make some important points about the angst associated with middle age: Josh wants to be young once more, and is prepared to ape Jamie's mode of dress, as well as trying to enjoy the youngsters' leisure pursuits. Neither prove very satisfying for the older filmmaker, and in the end he comes to acknowledge the fact of growing old.

Yet Baumbach also has some trenchant points to make about the documentary filmmaker's art. Do they exist to record life around them - as Leslie (Grodin) claims in a climactic speech, or do they cut corners and fabricate life in search of a good story? What is a "good" story anyway? The film has great fun skewering some of Josh's more pretentious flights of fancy as he struggles to finish a six and a half hour documentary that has already taken him ten years. He has written something far too long and boring (it's clear that Baumbach would never be a fan of the work of Claude Lanzmann, whose SHOAH lasts almost the same length of time).

Yet Baumbach never lets the action get too serious. The script is full of witty lines, and the performances are cleverly drawn. The New York locations also provide an effective backdrop to the action, with the seedy filmmakers' studios contrasting with the opulence of Lincoln Center.

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.

After seeing the trailer for While We're Young last week I was reminded what a wonderful and smart comedy this is. It was my favorite movie from TIFF last year, and one of Baumbach's best.

Anyone over 40 will relate to Josh (Ben Stiller) and Cornelia (Naomi Watts), a married couple in a rut. It's that painful experience of realizing that you've grown up without even trying to, and it's hard to see what's still possible when your body is reminding you that half of your life is already behind you. Baumbach is able to turn this experience into a hilarious and heartwarming story, and that is no small feat. It's serious stuff.

I remember his debut feature Kicking and Screaming as a seminal movie of my 20s. If you've seen it, you might have the same feeling watching While We're Young that I did. It was like I'd watched Noah Baumbach grow up through his films and characters. I suspect if you watched all his movies in sequence it would be quite powerful. Maybe Noah Baumbach is due for a retrospective titled "Manhood" ??

Highly recommend seeing this. Performances are excellent across the board. Charles Grodin is a living legend!

A bit pretentious at times, but clever and fantastically acted- While We're Young may not be the home run the film thinks it is, but is certainly a well illustrated period piece and a wonderful social satire. Ben Stiller and Adam Driver are fantastic, truly delving into their characters to likes I haven't seen them before. The whole cast itself is also quite impressive, with Naomi Watts also providing quite a notable performance. The film is surprisingly entertaining, and paced fairly well, but at times can feel like two different films by its end. To sum it up, the film starts and ends in very different spot, and though it is important to see character growth and plot progression in films, it just feels a bit odd how different the film feels by its conclusion- and you can't help but feel Bumbach didn't entirely realize what to do to wrap it up. Besides that fact, and it's somewhat pretentious nature, While We're Young is written very well in terms of dialogue and social satire, and proves to be a very revealing and realistic look into the world it wants to provide a glimpse into. In the end, While We're Young is not great, but a well-enough executed piece from Bumbach that is certainly memorable, unique, and luckily very entertaining. My Rating: 8.5/10

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.

It feels as if we're back in "Greenburg" territory with "While We're Young" made four years later, since we have the same writer and director (Noah Baumbach) and the same lead actor (Ben Stiller) playing a similar central character. This time, Stiller is Josh, married to Cornelia (Naomi Watts), a middle-aged married couple who find themselves hooking up with Jamie (Adam Driver) and Darby (Amanda Seyfried), a couple in their twenties, who remind the older pair of the freshness and spontaneity of youth while he struggles professionally and she laments their inability to become parents.

The female roles are underwritten and, while Driver is good, this is really Stiller's film. The trouble is that he is such an irritating character, unable to complete a long-running project to produce a boring documentary and foolishly trying to recapture his lost youth. There are some funny scenes and situations, but this is an uneven work with a sequence at a hippy retreat proving particularly silly.

"At the same age of Josh in the movie, Baumbach's self-reflexive instinct posits the story mostly from a flustered Josh's viewpoint, and Stiller is mildly exasperating for unable to act more sympathetic as the cynosure here, while the narrative around Watts' Cornelia, unfortunately still being predominantly defined by her womb (they would be fantastic parents!) and the two men in her life (her father and her husband, plus what is her occupation anyway?), is more amorphous, the same can be applied to Seyfried's Darby, under the shadow of Jimmy's faux-bonhomie and faux-naïf facade, she becomes a mere cipher and introduced as someone who makes ice cream, whereas Driver naturalistically codes Jimmy's unpretentious effusion with a shady self-consciousness might be bypassed by more gullible viewers."

read my full review on my blog: cinema omnivore, thanks

Noah Baumbach is the king of characters so awful they're difficult to watch. This film's designated horrible person wasn't nearly as bad as Nicole Kidman in Margot at the Wedding or Stiller's character in Greenburg, both of which had me nearly give up my belief he's one of my favorite writers and directors. However, he's so prolific at developing fully formed terrible human beings so very close to many we all know, I'm convinced he's a genius. This movie is his most accessible since Mr. Jealousy, perhaps due to Stiller's honest and somewhat naive protagonist. We have good & bad, old & young - all seemingly black & white - but as the movie progresses they're murky, overlapping, and messy. They're human. I love the climactic conversation as not only the storyline coming to a head, but also as a commentary on media today, relationships, and age. The final scene wants us to chalk the the antagonist's behavior up to youth, but the oldest and the youngest come together in their ruthlessness, leaving Stiller and Watts' characters treading the most difficult path - the one of genuineness and honesty with themselves that lies somewhere in between.

Growing up never felt so exhausting like it is depicted in this. It still feels fresh and has a lot of neat ideas. At least at the beginning, when we get behind what the main characters are feeling. Ben Stiller and Naomi Watts are amazing in their depiction of a couple with more than just one issue, even if they're not admitting to any of them. There's things you have to accept (like your body getting older and weaker for example, even if the mind doesn't see it that way) and others you have to learn to live with.

But the movie is not contempt to just deal with those issues, but also a relationship with a younger couple. Something that opens up a new box of problems, but also a new perspective if you will. The ending is a bit messy, but the actors are saving it from itself (the script isn't that bad either)

The movie surprised me. I was not expecting the plot to take the turn it does. The acting is good, though I liked Ben Stiller and Adam Driver's performance way more than their feminine counterparts. The strange friendship between these two men and, particularly, the keen depiction of Josh's spiritual "infatuation" for Jamie (a character you won't easily forget) was among the things I liked best. There is something terribly cruel about the entire story, and the film is quite effective at striking more than one sore point. Not a masterpiece, but a clever movie- one the like I would see twice. What I can say is that the ending really did not convince me. I would have liked to see how plot could be developed and made more complex and, to be honest, less banal. After almost two hours of movie, I expect the story to reach a final compromise between the starting point and all the assessments either verified or countered by the events the spectator has witnessed. Instead, the characters have been only partially transformed by their experience: let us say that, if the goal of a story is to bring a character from A to D passing through B and C, it seems to me D is a mere copy of, say, B. On the other hand, the movie tells a lot about acceptance and humility: if regarded under this specific point of view, even a not completely satisfying ending acquires its sense, no matter how bittersweet is the impression the movie leaves you with.

Interesting approach to mature age and the process to adapt to it, through an intergenerational comparison between "generation x" and "millennials" raised by Noah Baumbach using two documentary filmmakers and their partners as characters in his film, "While we're Young" In addition to the topic of maturity, the director shows us the different responses and behaviors of the generations to a specific topic: the making of a documentary. And the differences emerge: on one hand, generation x, with a great obsession in the search for truth, to deliver a pristine and unquestionable documentary legacy and, in contrast, the young filmmaker, doing whatever is necessary to resolve it, without any prejudice, just looking to do a well accomplished and enjoyable job. Aside from arguing over generations, the central theme is to meditate on age and plans for living life, as well as your capacity for acceptance and coexistence with others. His ability as a writer and screenwriter is demonstrated with several phrases in the film, I quote one of them at the beginning, as the title of my review. "While We Are Young" is a very well outlined film, worthy of analysis and which also fits into its theme regarding human interaction in his native New York in the 21st century. Sharp, both his last image about the new generations, as well as his final phrase: "He is not evil, he is just young" Script by Noah Baumbach The cast includes: Ben Stiller, Naomi Watts, Adam Driver, Amanda Seyfried. The cast is perfect since it makes the characters seem to be more dull, 'as is' and make those who must also appear so more entertaining and dynamic.

While We're Young shines in every aspect: Brilliantly directed, charmingly witty, and performed with graceful ease by it's leading actors. Stiller and Watts have found a delightful chemistry here, and the scenes they share brim with convincing self-awareness and sharp comedic timing, opposite Driver and Seyfried, the wide-eyed twenty somethings who are reminders of a fleeting youth. Baumbach has found a new tempo: Not the jazz of Frances Ha, nor the low, blue notes of Greenberg, but an upbeat, yet real glance into the crises of middle-aged life nostalgic for an earlier time. A must see, hilarious adventure about generations at odds, the search for artistic validation, and finding oneself at any age.

Something different... we're not used for something like this when there's Ben Stiller. Interesting, but a little bit boring... And the end is very... I don't know 😒😶