En toute humilité: The Humbling

Al Pacino's Simon Axler says that the hardest point for any great actor is when you can tell the talent is starting to recede. I'd say the hardest for any movie critic is having to watch a great actor do a movie like "88 Minutes." Thankfully HBO has been saving Pacino's cred over the past decade, which sadly still takes another wallop with another lousy theatrical film, this an adaptation of Philip Roth's novel scripted by "The Graduate" screenwriter and renowned comedy writer Buck Henry. The fact that Henry is even still alive comes as one of the few pieces of good news in director Barry Levinson's very sloppy, very irritating, and altogether labored look at something "Birdman" managed to do so easily.

Axler is first seen looking into a mirror, chastising himself for not sounding believable enough before the curtain call for his role in "As You Like It". He winds up having a nervous breakdown (Pacino never once looks like he's not in serious bender mode); exhausted and convinced his view of reality is falling apart, he keeps a shotgun in the house because he wants to be like Ernest Hemingway if that tells you anything. But before he can off himself, Pegeen (Greta Gerwig), the lesbian daughter of one of Simon's old actor friends, shows up at his door, wanting desperately to play out a long-standing crush she's always had. It's creepy and makes no sense, but nobody in this movie seems based in reality.

Least of which the constantly self-absorbed Simon, who has some confusing, depersonalized disorder, falling in line with being this "creepy old man" out of obligation to giving an audience (who i'm assuming is Pegeen) what it wants. Yet he seems to not be rehearsing when talking with a psychiatrist (Dylan Baker) and when another mental patient (Nina Arianda) wants him to help her kill her cheating husband (because she saw him do it in a movie once) he is very unwilling to "go along with the script." "Humbling's" look at mental illness is flimsy at best, but mostly just seems like bullshit altogether.

It also doesn't make much sense to keep adding all these unnecessary, secondary characters. The contrived and impulsive Pegeen. Her harassing, crazy ex-girlfriend (Kyra Sedgewick). Her other crazy ex-girlfriend turned transsexual man (Billy Porter), who now finds it interesting she likes men and won't leave until getting his shot too. And the Nina Arianda character. At times it's like this thing just exists to jam in as many delusional people as possible, it's hard to even remember that when we started, this movie was about achieving emotional honesty. By the time we get to the ending, honesty from any of these people just seems like an afterthought.

Al Pacino leads Barry Levinson's 'The Humbling', which despite some arresting moments, is an Uneven Comedy. Its a slow-paced tale of an artist losing his mind, but Pacino never makes him melodramatic or nagging.

'The Humbling' Synopsis: A stage actor who is slowly losing his mind engages in a relationship with a sexually confused younger woman.

'The Humbling' is a terrific idea, which doesn't translate into a terrific film. Reason? The Erratic Screenplay, which appeals in bits & pieces. Buck Henry & Michal Zebede's Screenplay, which is based on a book by the same name, is situationally funny, but overall, its erratic. There are moments when you feel for the protagonist, but at times, you just disconnect. Better Writing was the need of the day!

Levinson's Direction, however, is as complex as ever. Cinematography is aptly mounted, while the Editing lacks sharpness.

Coming to performances, Pacino is the life of 'The Humbling'. As an artist losing all he's got, the legend gives us a character that remains with you even after the show concludes. He's excellent. Greta Gerwig & Dianne Wiest deserve a special mention, for their brilliant performances, as well.

On the whole, 'The Humbling' will mostly appeal to Pacino fans.

There's a film about an aging actor who is having doubts about himself and his craft. He's thought of suicide and dreads having a flop on the Broadway stage. So, to help cope, the guy retreats into fantasy--and the audience often finds that they have a hard time separating out what's real and what is not throughout the picture. This is the synopsis for the multi-award nominated Birdman and, oddly, also for a brand new movie from director Barry Levinson (Rain Man, Sleepers, Wag the Dog) which stars Al Pacino! Had I not just seen both of these films recently, I wouldn't have believed two films would be so similar and come out independently of each other only a few months apart...but here we have it.

When the film begins, Simon Axler (Pacino) is falling apart during a performance of a play. He's forgotten his lines--mixing them up with another play he was in some time ago. In a panic, he throws himself off the stage. Soon, after attempting suicide, he ends up in a mental institution. After a brief stay, he's back home--home to an empty house and with few job prospects. Out of the blue, a woman from his past shows up and she wants him. The minor problem is that she's a lesbian...as well as his goddaughter. Sounds complicated? Sure...but it gets worse...much worse. Along with frequent retreats into his fantasy world, a suddenly super-problematic personal life as well as paralyzing stage fright comes one final chance to star in yet another Broadway play. What's to come of all this comeback...will it be a bust?

The biggest positive this film has over Birdman is its sense of humor. Birdman is awfully serious. The Humbling is serious but the film also pokes gentle fun at Pacino's character and his age--plus there are quite a few parallels to the real life Pacino. I particularly loved the scene at the vet...but that's just one you'll have to see for yourself. Is it better than Birdman? No. But if you liked one, you'll probably like the other...they are both well- crafted and offer some terrific acting.

One of the Problems with Al Pacino Films in Recent Years is His Aging. He Looks Old and one is constantly Reminded as He Performs in various Roles of late, just how Old He is Getting and just How Old He Looks.

That is Definitely Not a Problem in this one. A Dark Comedy from Director Barry Levinson with a Script by Buck Henry from a Book by Philip Roth.

Because, You See, the Character Pacino Plays IS an Old Actor that IS Losing His Grip on His Craft and His Looks are Not Receding, their Lost. It's an Uncanny and Personal Role for Pacino.

It's an Odd Movie and Off Beat with an Awkward Rhythm that Comes Together occasionally and then just as quickly Quirks Up and falls Out of Step. That Keeps Things Interesting and the Cast of one Goofy Character after another Helps Things Stay Frosty.

Greta Gerwig Co-Stars with Pacino as a Scatterbrained Lesbian that has had a Life Long Crush on the Actor and She Helps the Strange Story along with a lot of Unpredictable Behavior. Overall, Worth a Watch for something Different and to See Pacino Finally Playing His Age.

An Arty Film for Lovers of Stage and Screen with enough Gravitas to Entertain Thanks to some Good Performers and some Sharp Writing.

I just saw this new release off Netflix starring the duo of star Al Pacino and director Barry Levinson- who's last collaboration was the brilliant HBO film "You Don't Know Jack"; but this movie just falls flat. Pacino plays an aging actor who goes into a relationship with a sexually confused much MUCH younger (LOL) woman- what, isn't he about old enough to be her GREAT grandfather-?? LMAO Well, besides a few amusing moments here and there, the movie was really just a schnooze fest. I liked the stuff about the whole method of acting with Pacino's character's career and all, but am on the fence whether I'd recommend this or not. I'd say- if you're a Pacino fan and have Netflix already- go ahead and check it out, otherwise go watch "You Don't Know Jack" instead... Dianne Wiest (think that was her??) and Charles Grodin (who I just saw on an episode of "Louie" recently) costar.