The Last Romantic

I found this film to be self indulgent, and amateurish. It comes off like the scribblings of a not very self aware young person who does not have much to say, and takes too much time to say it. None of the characters are appealing, and the lead character simply isn't interesting either. I might almost accept that it was satirical and I just missed the point, but the user comments from those who liked the film don't seem to have that viewpoint--they actually took it seriously, and were moved by the film. I was not. I don't think the film-making values are very good, which would not be an issue if the substance, plot and acting were better, but they are not good enough to overcome the low budget by a long shot.

Every year hundreds, if not thousands, of small, privately funded independent films fall through the massive and gaping cracks of Hollywood and get little notice. Pray to whatever god you may worship this is not one.

The movie is a must see, no doubt about that, but the movie is especially relevant for any struggling artists out there. The main character, a poet named Calvin Wizzig, seems to embody every frustrated artist that knows he could be something if the world would just give him a chance. And he does everything in his power to get his chance too.

While on the path the being published (or at least he hopes) he goes on an almost Homer like journey. Encountering one memorable and funny character after the next. One of the most impressive things about the film was its ability to cut off the fat most movies carry. Every line is important to the characters or plot, not a word is wasted. This should be attributed to the extraordinary writing and directing coming from Adam and Aaron Nee.

If you are tired of the same old crap Hollywood is producing ever year, and want a refreshing, intelligent, funny, touching, and memorable film then see "The Last Romantic"

The brothers Nee have produced a film that, if given a distribution deal, will surely become a cult favorite if not an overall financial success.

I am sorry this review was not better written.

Rarely does Hollywood make a movie that is as unique as it is simple. This story is a snapshot in time, a few days in the life of a poet bound by both artistic passion and absolutely no sense of reality.

He is Calvin Wizzig and he is written for every artist out there who had a romantic image of what creating art should be like and the brick wall of reality that shattered their perception.

The two directors and writers obviously projected a lot of personal experience onto Calvin and it shows. It's seemingly unreal moments where a woman walks up to a stranger and asks him to fake marry her for money that make this movie so enjoyable because obviously these directors have lived in New York City where bizarre experiences like this happen every day.

I will say you may not enjoy this movie if you aren't familiar with the other lesser known works of Adam and Aaron Nee. The directors for this movie tend to write stories that cannot be found anywhere else in Hollywood. They are the directors of the comedy Lost City of D with Sandra Bullock, Brad Pitt, Channing Tatum, and Daniel Radcliff. This huge cast is no surprise as the Nee brothers attract all kinds of famous talent for their films from Sarah Silverman to Jack Black. This is because their films offer stories and perspectives that really have never been told before and actors are really attracted to once in a lifetime experiences that the Brothers Nee offer.

Unfortunately, this means that a general audience may have an aversion to this movie at first but with the right audience to explain why it is impactful to many artists, I think anyone can enjoy seeing life through their eyes.

I am not a self-proclaimed film connoisseur.

I am not a struggling artist.

I am a struggling scientist and post-collegiate finding myself believing that I am also partly Calvin Wizzig (The Last Romantic's leading character), awkwardly seeking my own self-interest while hoping it will somehow benefit society and propel me into fame and fortune, only to find that my deranged priorities hinder the maturity I need to get me where I want to go.

With charming quick-witted humor and succulent colors, this film drew me in swiftly. I found myself intrigued by the way the Brothers Nee perfectly developed their characters without lumbering over weary side-stories and extraneous details; each of them portraying their own quirks and eccentricities, yet realistic enough that they very well could be sitting next to you in the theatre. Calvin's clumsily honest self-promotion and lack of social regard is easy to not only laugh about, but also relate to and cheer for him to overcome.

To find such light-hearted comedy and inspiring depth in one film without a cursory Disney "all's well that ends well/happily ever after" theme is a delight. And even if the film had no substance at all, the cinematography is enchanting. The vibrance of the scenes and cunning use of color seductively woos the eyes in for a stay.

In a lifetime lamenting far too many wasted two-hour segments, this is not one of them. The Last Romantic is more than just a good use of time, but it is also a vessel, donning hope for the progress of humanity.

You have two poems, a shocking deficit of pocket change, a bad night's journey into day and all of paternal New York—with its unrelenting absurdities and primordial pool of transparent opportunities—waiting, with bated breath, for your verse. Just waiting. And you're ripe for the picking. And you're Calvin Wizzig. And maybe fascinating women with intimidating pillow-lips will notice you if you give them one of your poems. Or if you buy them milk. Or if you marry them. Or, maybe you'll just end up with a ball-point pen. THE LAST ROMANTIC is what happens when artists with vision draw upon something personal and true, and make the film themselves. That is to say, something this unique couldn't have arisen from an adaptation, remake or star- studded Hollywood formula. This rare variety of cinema embraces stories that defy expectations with layered, complex characters and a signature visual style, the aesthetics of which stay with you long after having left the theater. And Adam Nee's portrayal of Calvin Wizzig reminds us of why we go to films in the first place; to feel something. The audience is not led by the hand or told how to feel. The characters here aren't easily placed into clean stereotypes. Their dilemmas, hopes, feelings and actions never allow us to categorize or judge them. Similarly, I find it difficult to classify the film itself for the same reasons—its comedies and tragedies run together, allowing it to become believable and carry with it an honesty that is, frankly, irresistible. This is merely the beginning for the Brothers Nee.