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Just saw this movie today and was a little disappointed with it. The acting is decent enough, the dialogue is not terrible (except for one scene, which will be obvious), the characters were interesting. It was all enough to make me engrossed in the film, but it doesn't seem to go anywhere. I kept waiting for the sh** to hit the fan and it never did.

Sorry to say that the story seemed a little under-developed to me. The stakes never seemed high enough to make you really worried for any of the characters. And what was supposed to be the climax of the film is really just a tiny spurt of nothing.

I hope the writer continues to develop further, as she obviously has the ability to create unique and interesting characters, but she just needs to learn to do more with those characters. She certainly had the time to do so in this film, as the running time is short and there were definitely sub-plots that could've been cut out entirely (the Italian teacher for instance)

You know when someone is telling you a story and you're kinda into it, wondering when it's gonna get good, and then they just stop talking? And you're just like "uhh, you're done?"

That is what this film is. Not gonna lie, I was above averagely interested in the plot, and was interested in the film mainly because I wanted to see one of my favorite actors try to play someone other than Jim Halpert. It may take John Krasinski a bit of work to be able to drop his "Jim" persona, of which I didn't see much in this film, so good job there.

I would like to commend the young actress who took on this film and turned it into something that wasn't a complete waste of time. I would never be interested in watching this film again, but I won't say it was an offense to the film world.

Overall, just skip it. You don't get any insight into life, you don't come away with anything, you don't really care about the characters, but if you have or had a life that was plagued with promiscuity, you might be able to relate, but also may be repulsed by some of the characters.

Given the screenplay was co-written by Lena Dunham, creator and breakout star of HBO's "Girls", I was hoping this 2012 indie relationship drama would resonate strongly like Lisa Cholodenko's acclaimed Los Angeles-set films ("Laurel Canyon", "The Kids Are All Right"), especially with such a smart cast of actors. However, something feels amiss in director Ry Russo-Young's coolish approach to a familiar story of adulterous deception and family dysfunction. The pacing feels glacial, and the characters are just not that involving emotionally. Perhaps that was the intention in showing the shallow nature of the lifestyle being portrayed, but it rubs off on the film's inertia leaving it feeling quite flat. The setting is LA's funky-chic Silver Lake neighborhood where sound engineer Peter lives with his psychotherapist wife Julie along with their young son and her teenaged daughter from a previous marriage, Kolt. They epitomize the laid-back, everything's-cool attitudes one associates with affluent Southern Californians.

Enter Martine, a New York acquaintance of Julie's college friend who happens to be an attractive 23-year-old experimental filmmaker. She has agreed to work as Peter's assistant in exchange for him helping out on her latest project, an arty video installation revolving around close- ups of ants. How Martine emotionally invades the family is the crux of the story, and to the credit of Russo-Young and Dunham, she never comes across as an unrepentant interloper like more commercially driven exploitative films have done in the past. It's just that the plot pretty much goes the way you would expect it would go from the outset, although the characters carry decidedly ambiguous natures that make some of the story turns feel more complex than they really need to be. For instance, the inevitable tryst between Martine and Peter lacks believable passion because it feels almost matter-of-fact. In hindsight, I feel like it should have been the driving force in pushing each character toward self-examination.

The cast is not really at fault here as the acting, for the most part, is sensitive and assured. Olivia Thirlby (the best friend in "Juno") provides the requisite gamine quality needed to make Martine credible as an object of obsession even if her character remains a cipher throughout. The always becalming Rosemarie DeWitt ("Rachel Getting Married") delivers a thoughtful balancing act between earth mother and jealous wife as Julie. John Krasinski has a bit harder time escaping his amiable good-guy image from "The Office" and "Away We Go", but he does provide some surprisingly heated moments as Peter that make you wonder if he could do a greater variety of roles on screen. As the constantly yearning Kolt, India Ennenga appears to be channeling early Claire Danes, but she makes the character's unrequited love palpable. In smaller parts, Justin Kirk as a horned-up Hollywood screenwriter and Julie's attentive patient and Dylan McDermott as her self-possessed ex- husband bring much needed alpha energy to the proceedings. A late meltdown scene with Kolt's smarmy Italian tutor (Emanuele Secci) feels very out of place. Lethargic viewing.

Nobody Walks (2012)

** (out of 4)

A New York film student named Martine (Olivia Thirlby) comes out West to finish her movie on insects and ends up living with a happy family. The father (John Krasinski) agrees to help Martine finish the film but soon he ends up falling for her, which sets off different emotions for his wife (Rosemarie DeWitt). NOBODY WALKS has some pretty good stuff in it but in the end it's just another independent movie that thinks it has a lot more to say than it actually does. If I had to pick one word for this film it would be "mildly." I say that because everything here could have mildly put in front of it. The story is mildly entertaining. The idea that everyone wants what they can't have is mildly interesting. The way the film gets its point across is mildly interesting. Everything in this movie manages to be mildly something but unfortunately it's just not clever enough or showing us anything that we haven't already seen and this is what keeps it from being much better. We've seen the perfect household fall apart with the site of a beautiful woman using her sexuality so that's not giving us anything new here. The way that it all happens is, you guessed it, mildly interesting because as a film buff I found it entertaining that the husband was helping the girl edit a film. The sex scene happens in a sound proof room. I'm not exactly sure if this student's film was supposed to mean something to the viewer but I took nothing away from it. The best thing going for the film are its performances with Thirlby once again really impressing me. She's certainly a very charming actress and the way she pushed the sexuality here was quite memorable and one hopes to see more of her going forward. Both Krasinski, DeWitt and Dylan McDermott are good in their parts as is India Ennenga who plays the daughter. NOBODY WALKS isn't going to appeal to too many people but I think fans of the indie scene might want to check it out even if it doesn't reach the levels one would have hoped for.

Martine (Olivia Thirlby) is a young artist making an art film about insects. Peter (John Krasinski) is a sound engineer helping her out to finish the film. She slowly draws the attention of Peter and creates conflict with his wife Julie (Rosemarie DeWitt).

Krasinski is playing against his usual nice guy type. He is still playing a version of it but corrupting it. It's actually quite off-putting to see it. Thirlby is wonderfully charming as a girl who shy away from commitments. She's one of the more interesting young actresses around. She doesn't overplay the role. She neither the victim nor the aggressor. The daughter Kolt played by India Ennenga has an interesting role. All of it should add up to a very compelling movie. However it feels rather under written and empty. The characters act but without major consequences. The couple's marriage wasn't much to begin with, they didn't really fight for it, and it isn't much at the end. In the end, everybody walks.

Anyone who really doesn't like LA would be foolish to watch this, but on the other hand, those of us who do like LA could do worse. I think it's not as bad as some people think it is. Yes, the characters are neurotic and horny navel-gazers. There are a lot of attempts to have sex in this. Some viewers might have a problem with an intergenerational pot-party scene. I don't think I've seen one of those before. The photography is pretty good and the acting too is not bad. Some have compared this film to Laurel Canyon which stars Frances McDormand and Christian Bale and is better. But it is a similar look at kind of a rarefied milieu wherein people can be annoying. But that's not really news, is it? I actually think a good rule of thumb is, if you start watching a movie and find you really don't like it, it's OK to stop. I'm just saying don't avoid things for the wrong reasons. Nobody Walks is 81 minutes and almost good.

The first clue is the runtime of 1 hour and 22 minutes. In a time when Hollywood stretches the limits of audiences' attention spans to their fullest 3 hour seated capacity, "nobody walks" writes its epitaph with (and within) its short start to finish as it starts quickly and runs out of gas just as so. While a specific length is not a necessity, this film is ambitious in its grand plans and yet negligent on its delivery. "Nobody walks"'s quest is to tackle one of modern human life's most specific challenges: monogamy; and more importantly: the desire to stray from it; and that desire in general. Its most profound assertion is that no relationship is sacred, as not even the boundaries of our most official are safe from the powers of lust. It goes even further into suggesting that all relationships are laced with and perhaps built upon this sexual wanting. The movie is passionate about its agenda. So much so; that it beleaguers each of its eight characters with this primal condition. Unfortunately, though all the characters suffer, no one is cured, no one is diagnosed, no one can even admit they have a problem, until the film is over. Ironically, much like a failing marriage, the film cannot deal with the conflict that it has created, so it just doesn't. In the very few scenes with perfunctory attempts, it falls short; as the acting and screen writing remain under equipped to deal with the subject that "nobody walks" promises to celebrate. Functionally anorectic, the film suffers classically from a case of biting off more than it can chew, as the story neither swallows its attempt, nor takes any other bites at all. The characters take no time to introduce themselves before beginning their preconceived flaws, almost as if it wasn't supposed to happen to them at all. And just as soon as they are done, with no question or contrition, they all quit and the credits roll. Perhaps, the film, in its greatest irresponsibility, fails most disappointingly as it never explains why, some characters, though all innately feral in carnality, find vaccination in the last moments of temptation and are spared of their supposed dubious inevitability, and yet others are curiously stricken and never recover. Time management seems to be the success and failure of many films and "nobody walks", though quick in its sprint, might have been better served with a slow jog, or even a more calculated stroll.

This film gets at some difficult truths. Anyone interested in miscommunication between the sexes, gender dynamics, gender studies, roots of desire, roots of violence...anyone that knows what it is like to be a young woman...I think the list goes on; there are many audiences that could get something out of this film. Plus, it is well written, well acted, and well directed - there were several scenes that caught my attention in artistic, creative, and subtle ways. I realize this review may not be balanced - that's a whole lot of praise, but, truly, there is something about this film that is not only well presented, but profoundly important.

Maybe I just got my expectations down to that special level of low, I find Lena Dunham stuff to be horrible, tiny furniture was just one of the stupidest things I have ever seen. So I think seeing her name attached to this helped me enjoy it because I thought okay this will be bad, and when it turned out to be good I was happy.

What makes this movie entertaining is you can watch any of the actors involved on their own, they could have made any of the characters the lead or the main focus and you would have been into it. I actually thought the length was a huge negative, ended maybe a good 15 minutes too early, from opening to credits it was a mere 78 minutes long although it might claim to be longer.

There isn't much of a plot, an artist moves in with a family she stirs things up, I won't give away too much but she's an attractive woman around men who like attractive women so its not that difficult to figure out. The movie does a good job of just sort of moving along without being about anything. One of the weak links was this sub plot with an Italian teacher, I could have done without that it was a little odd.

The young lead actresses India Ennenga who plays the sixteen year old step daughter to Krasinski, and of course the artist woman Olivia Thirlby held it all together and kept it interesting even when it dragged along. I don't know why this movie made so little money, it was decent, maybe it didn't get a big release. I just found it via netflix as I am sure most other people found it that way too.

I would say watch this with no expectations, and if you like movies with lots of action and dramatic arcs then just skip this one, this is more of an experience film.

I found this film to be initially intriguing but ultimately disappointing. And while the cast is attractive, and the direction is passable, it's the story that falls short. "Who cares?" is the reaction I would expect many people to have upon completing this (thankfully) short, arthouse type movie.

As a man, I was put off by the depiction of my gender here... virtually every man, from cheating spouse to pedophile teacher to lecherous patient to moronic ex-husband to shag-expecting seat-mate on a flight... is presented as either a "dog" or a jerk, and this is just wholly unrealistic. Can't a "strong woman" movie exist without casting every male as a hormone-driven slob, an idiot, or an evil czar to be toppled?

The story goes nowhere, driven there by semi-interesting people doing nothing of note. In the end, it's basically a character study about people that are hard to relate to, and becomes essentially a waste of talent and energy. Not worth your time.

It started off decent. Then it was a whole lot of nothing. It was filmed nicely but the storyline fell flat. It seemed like they were trying way to hard to be "woke".

There is a lot of b-roll and fat that can be cut out of this film. I feel like they used extra stock film just to make the movie a longer movie. It doesn't make it better it only makes it slow and boring. The close-ups are way to close. It feels awkward and not intimate at all, which I feel is the way they wanted to pursue those shots.

The start of the movie is very confusing. You don't really get introduced to the characters, you just see them. You don't know who they are or why you are looking at them. I also don't like the main actress, Olivia Thirlby. Her character is very bland.

I would like to know more about Peter, who John Krasinski plays, and why it is so easy for him to cheat on his wife. John Krasinski is the only reason why I started to watch this film. I think he is a good actor and he does perform good in this film. I wish I would see more of him in newer films.

You also never find out why Kolt, who India Ennenga plays, is learning how to speak Italian.

You know when you start to watch a film get excited by what you are about to experience and within an hour are ready to leave? If you don't know what that feels like here is the film for you!

It starts off terrific and falls flat so soon that enduring it was like being in a waiting room for public benefits So sad they didn't get a better director

(2012) Nobody Walks DRAMA

This movie is like the much more serious version of "Down And Out In Beverly Hills", except it's much more entertaining as a comedy than as a drama film. Co-written and directed by Ry Russo-Young starring Martine (Olivia Thirlby) who's just arriving to Silver Lake, LA to put some sound work into a film project regarding ants. And while there, sound guy, Peter (John Krasinski) whose married to someone Martine idolizes, her name is Julie (Rosemarie DeWitt) starts hitting on her. And at the same time, Peter's assistant also has the hots for her as well, creating an unrealistic scenario. The more the movie is progressing, it became more ridiculous like the worst soap opera anyone has ever saw. The only character that offered a little bit of credibility is Rosemarie DeWitt, and even she can't even save this movie.

I went into this film with high expectations being a huge Lena Dunham fan. The film centres around an experimental film maker and her work with an audio designer. If you have a great pair of headphones or a high end sound system the film wont disappoint your ears either, with a great original score. Rosemarie Dewitt is fantastic as always however my stand- out performance comes from fresh face India Ennenga who for me was the performance highlight. The film wraps up quickly and doesn't waste much time either, its a quick tale told sharply and its brilliant. It baffles me why this has such low scores, possibly they were expecting something more light-hearted penned by Dunham?

I saw this at BAM in Brooklyn and thought it was pretty incredible. Rosemarie Dewitt is so wonderful in her role (she is not the lead but somehow she stole the show for me—she is so beautiful and intelligent and refreshing to watch) and she has great chemistry with both Krasinski and Justin Kirk. It's basically my three favorite TV actors in one great film, getting to do so much more with their talents than you ever see on Mad Men, Weeds or The Office.

Olivia Thirlby is excellent too as a very driven young woman artist. Her style is great and she has a very intense and unique energy—an ingénue but not so innocent at all. But I think my favorite part is how gorgeous LA looks and the interiors, too. It is really sexy and a little seventies naturalist but also completely "contemporary LA" in a way I've never seen so accurately portrayed. I really identified as a New Yorker who has visited LA and had a major crush on the parts of it that just seem like, so hip and mysterious and "how can I figure out how to live like this?!"

I am a big fan of Dunham's work and actually saw this because of how much I liked Russo- Young's last film, "You Wont Miss Me." This is a smart and funny and great to look at collaboration for them as writers and I'm super excited to see what Russo-Young does next....

I saw Nobody Walks at the BAM Film Festival and loved it. It's sensual and provocative and very smart. It was written by Lena Dunham and Ry Russo-Young and fantastically directed by Russo-Young. It's great to see John Krasinsky in this kind of dramatic and sexual role and Rosemary DeWitt is lovely and perfect. The sensory details in this movie are impeccable, from the sound design and music to the cinematography and production design. These all work together to create a dreamy LA background, against which family, sex, art and work are critically examined and tested. It is a beautiful movie. I highly recommend it. It's also so great to see a movie created and starring so many brilliant and driven young women.

I have been watching this director, Ry Russo-Young, since seeing her first feature at SXSW, Orphans, that won the Jury prize. She knows how to create moving, complex characters, that stay with you. Her second film that also screened at Sundance, You Wont Miss Me, took a huge leap with Stella Schnabel playing a smart, screwed up New Yorker looking for love in all the wrong places. Now, in Nobody Walks, Russo-Young hits her stride. She has assembled an amazing cast who give deeply nuanced performances, from Rosemary DeWitt's vulnerable wife and mother, to John Krasinski's breakout role as the husband seduced by Olivia Thirlby who oozes sexuality mixed with naive ambition. The supporting players are perfectly cast; Justin Kirk as the therapy patient who pushes the boundaries, Dylan McDermott as the fading rock star ex-husband, and India Ennenga the teenage daughter discovering her own sexuality. Co-written with Lena Dunham (Girls), Russo-Young tackles universal themes of love, lust and regret with grit and grace.