VALUTAZIONE IMDb
6,7/10
20.581
LA TUA VALUTAZIONE
Un giovane, sua moglie e il suo assistente sociale incompetente viaggiano attraverso il paese per trovare i suoi genitori biologici.Un giovane, sua moglie e il suo assistente sociale incompetente viaggiano attraverso il paese per trovare i suoi genitori biologici.Un giovane, sua moglie e il suo assistente sociale incompetente viaggiano attraverso il paese per trovare i suoi genitori biologici.
- Premi
- 1 vittoria e 10 candidature totali
Beth Stern
- Jane
- (as Beth Ostrosky)
Cynthia LaMontagne
- Sandra
- (as Cynthia Lamontagne)
Recensioni in evidenza
`Flirting with Disaster' is definitely a typical Hollywood movie in many aspects but not in all of them. It fits the form of classical cinema or classical paradigm in that the director, David O. Russell, does not get distracted from telling the story with filmmaking techniques. It is a clear and precise comedy that never leaves the characters in action, and is done so in a way that works unlike many other films of this genre released today. The film is structured narratively, with a clearly defined conflict from the very beginning. Ben Stiller shines in his performance as a neurotic new father who is trying desperately to find his biological parents in order to name his newborn son. At one point in the film the viewer begins to become anxious and wonder if the same problem for the protagonist, Stiller, is going to continue on in the same form as it has in the past half of the movie, but luckily Russell then changes the flow of the film and brings it to a much more comedic finish than the first half.
The photography is shot in full and long shots throughout most of the movie. Russell must have used deep-focus shots when filming because the surrounding background is clear around the characters, using a wide-angle or short lens. The characters are never off of the screen except for a few instances when we see a plane flying or a car driving and then we have voice-overs. The dialogue is always continuous- there is never a break in the script which works well because the screenplay is well written and clever on its insights on the little inconveniences of everyday life. Although all of these events are too unbelievable too happen all at once, they are all real life comedic situations that could happen to anyone. When compiled together with this plot line, we have this film before us.
Although this is a typical movie in the sense that it does not break any barriers or do anything creatively in its techniques in telling the story, the plot and screenplay do enough justice in making the film entertaining for the audience and one of those films you can just sit down, relax, and have fun viewing because it makes sense and fits together. This aspect is not like many Hollywood films released today, with their gaping holes that leave the viewer feeling unfulfilled. Altogether this was a good film, even though it did fit many of the typical Hollywood stereotypes.
The photography is shot in full and long shots throughout most of the movie. Russell must have used deep-focus shots when filming because the surrounding background is clear around the characters, using a wide-angle or short lens. The characters are never off of the screen except for a few instances when we see a plane flying or a car driving and then we have voice-overs. The dialogue is always continuous- there is never a break in the script which works well because the screenplay is well written and clever on its insights on the little inconveniences of everyday life. Although all of these events are too unbelievable too happen all at once, they are all real life comedic situations that could happen to anyone. When compiled together with this plot line, we have this film before us.
Although this is a typical movie in the sense that it does not break any barriers or do anything creatively in its techniques in telling the story, the plot and screenplay do enough justice in making the film entertaining for the audience and one of those films you can just sit down, relax, and have fun viewing because it makes sense and fits together. This aspect is not like many Hollywood films released today, with their gaping holes that leave the viewer feeling unfulfilled. Altogether this was a good film, even though it did fit many of the typical Hollywood stereotypes.
A truly unique comedy, haven't seen anything like it other than I Heart Huckabees, which O'Russel made a decade later. A neurotic man escapes from his neurotic family to go on a cross country search for his biological parents. Along the way we deal with his neurotic girlfriend and the neurotic families he encounters as he tries to find his true parents, whom are also neurotics.
The characters are non-stop nutty and their flaws are unique and hilarious. They talk over each other constantly and never seem to be really 'conversing' with each other other than pointing out each other flaws. All these moments were done well by O'Russel and he really nailed the talking-past-each other flexing that neurotics have when in a group together.
Only complaint is that the movie kinda overdoses on itself and barely leaves room for the audience to breath. The group-fighting gets tiresome/doesn't work in a couple of scenes but a hilarious ending makes it all worth it.
The characters are non-stop nutty and their flaws are unique and hilarious. They talk over each other constantly and never seem to be really 'conversing' with each other other than pointing out each other flaws. All these moments were done well by O'Russel and he really nailed the talking-past-each other flexing that neurotics have when in a group together.
Only complaint is that the movie kinda overdoses on itself and barely leaves room for the audience to breath. The group-fighting gets tiresome/doesn't work in a couple of scenes but a hilarious ending makes it all worth it.
Why is it that people think grating, annoying, OBNOXIOUS characters are funny ? It's hard to laugh when you just want someone, ANYONE to smack those people up the back of the head as hard as they can. The dialogue goes nowhere, the scenes go nowhere and all in all you feel like you wasted 2 hours of your life watching something that might have worked as a Saturday Night Live skit. Avoid at all costs. I'm the type of person that can always find something redeeming in a film and there is NONE to be found here.
Flirting with Disaster (1996)
This is one of those movies that's just plain stupid in such a funny way you'll likely laugh out loud a lot. And you'll finish thinking it's a pretty stupid movie. The ending in particular makes you wonder what all the build up was about since it diffuses, as if the writers ran out of conflicts (or solutions) and raised their hands in surrender.
But on the way there is one funny gag after another. And a whole slew of excellent actors doing their zany best. Some of them have very brief (and contained) appearances, for sure--Lily Tomlin and Alan Alda, for example, in a hilarious section of the movie with little connection to the rest of it. In fact, the whole movie is broken into spasmodic sections, held together mostly by the three leading leads (there are lots of main characters): Ben Stiller (looking for his biological parents), Patricia Arquette (his suffering, sweet wife), and Tea Leoni (the mentally incomplete but skinny and sexy interloper).
Stiller isn't actually totally funny by himself, but acts like more of a foil for all the crazy things happening around him (this is his style on purpose, a kind of regular guy in an irregular world). Arquette is almost too normal for this abnormal world, but that's fine, she's likable, and is meant to be the loving wife who doesn't quite know how zany the events around her are. At first. Leoni has a terrific way of making nutty faces and being just slightly insane without being just stupid (the way Will Ferrell is just stupid in a different kind of humor).
There are gay jokes and jokes about LSD and a general playing of an ultra-licentious world against what seems to be a normal human desire to connect with your genetic parents, unknown to you. The mistakes along the way are what make it hilarious. Until the end, where it maybe is trying to say, "Oh well, everything is okay in a world where anything goes." Sure. Pop the big bubble, but on the way it's a gas. No pun intended.
This is one of those movies that's just plain stupid in such a funny way you'll likely laugh out loud a lot. And you'll finish thinking it's a pretty stupid movie. The ending in particular makes you wonder what all the build up was about since it diffuses, as if the writers ran out of conflicts (or solutions) and raised their hands in surrender.
But on the way there is one funny gag after another. And a whole slew of excellent actors doing their zany best. Some of them have very brief (and contained) appearances, for sure--Lily Tomlin and Alan Alda, for example, in a hilarious section of the movie with little connection to the rest of it. In fact, the whole movie is broken into spasmodic sections, held together mostly by the three leading leads (there are lots of main characters): Ben Stiller (looking for his biological parents), Patricia Arquette (his suffering, sweet wife), and Tea Leoni (the mentally incomplete but skinny and sexy interloper).
Stiller isn't actually totally funny by himself, but acts like more of a foil for all the crazy things happening around him (this is his style on purpose, a kind of regular guy in an irregular world). Arquette is almost too normal for this abnormal world, but that's fine, she's likable, and is meant to be the loving wife who doesn't quite know how zany the events around her are. At first. Leoni has a terrific way of making nutty faces and being just slightly insane without being just stupid (the way Will Ferrell is just stupid in a different kind of humor).
There are gay jokes and jokes about LSD and a general playing of an ultra-licentious world against what seems to be a normal human desire to connect with your genetic parents, unknown to you. The mistakes along the way are what make it hilarious. Until the end, where it maybe is trying to say, "Oh well, everything is okay in a world where anything goes." Sure. Pop the big bubble, but on the way it's a gas. No pun intended.
Did not expect to laugh so much i have to say for a film that i had no idea existed and was made 24 years ago.
What got me interested was it being a David O Russell film i had not seen and his stuff i had seen was consistenly very good.
Dysfunction brought to the extreme. The line that best sums up this film would be "you come in here and lick my wife's armpit"
Excellent, cheered me right up it has!
What got me interested was it being a David O Russell film i had not seen and his stuff i had seen was consistenly very good.
Dysfunction brought to the extreme. The line that best sums up this film would be "you come in here and lick my wife's armpit"
Excellent, cheered me right up it has!
Lo sapevi?
- QuizAccording to Lily Tomlin, Ben Stiller and David O. Russell did not get along and had many heated arguments.
- BlooperCameraman visible in mirror in detectives office.
- Citazioni
Mr. Coplin: San Diego has a big carjacking problem. They bump you, and when you stop, they mutilate you and take your car.
- Versioni alternativeThe VHS and laserdisc versions (but not the DVD release) feature additional scenes during the end credits, not included in the original theatrical cut, showing the whereabouts of Tina and Tony and Paul.
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- Flirting with Disaster
- Luoghi delle riprese
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 7.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 14.702.438 USD
- Fine settimana di apertura Stati Uniti e Canada
- 164.458 USD
- 24 mar 1996
- Lordo in tutto il mondo
- 14.702.438 USD
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By what name was Amori e disastri (1996) officially released in India in Hindi?
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