Irrational Man (R)
01/08/15 00:25 Filed in: 2015
Directed by: Woody Allen
Starring: Joaquin Phoenix
This review was originally tweeted in Real-time from the back row of a movie theater and appears @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation. The original tweets appear in black, while follow-up comments appear in red. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!
“A reputation proceeded me.”
An emphasis on the word “A.” Which infers a negative reputation. Ironically, it’s a negative reputation that Abe is fully aware of. Correction: Preceded. All proceeds from this review will go toward my grammar lessons.
The difference between philosophy and the real world. The #AnneFrank example is thought-provoking.
The point being that always telling the truth can have dire consequences in certain instances. Reference Jim Carrey in Liar, Liar (1997).
Abe avers that much of philosophy is #VerbalMasturbation.
Which is having sex with someone you love. Reference Annie Hall (1977).
Abe has lost “the will to breathe.” He needs to be #Unblocked.
Parker Posey helps Abe out with his whole “blocked” issue. Abe doesn’t need to resort to self love in this instance. I know, TMI.
Abe’s lesson in “existentialism” is shocking. #RussianRoulette
Abe definitely lives on the edge. The extents that he’ll go to in order to prove his point, however, are unhealthy…and dangerous.
Abe finds a new purpose as hit man. #StrangersInADiner
In a way, Jill creates a monster by drawing Abe’s attention to the conversation taking place in the booth behind her in the diner. Reference Hitchcock’s Strangers on a Train (1951).
“Go with your gut.” Abe should know. #BeerBelly
Phoenix really let himself go for this role. Suffering for his art…while eating a Big Mac.
How to lace a fresh squeezed orange juice with cyanide.
It looks a lot easier than it is. Don’t try this at home.
Abe has learned to celebrate life instead of romanticizing death.
Ironically, this new clarity in life comes from murdering someone he’s never met—celebrating death.
The deconstruction of the judge’s murder over dinner is a fabulous scene.
Ethan Phillips (Star Trek: Voyager) stands out here, but it’s his screen daughter, Stone, who steals the scene with her leaps of logic that prove to be dead on.
“A dark cloud had covered the moon.” #SeedOfDoubt
Note to men everywhere: when a woman says there’s nothing wrong, there always is…and there’s a good chance it’s something you said or did.
Abe’s “meaningful act” comes to light.
Abe’s rationalization for his action is disturbing, yet wholly justified from a purely pragmatic standpoint.
Saved by a flashlight.
It was a whistle in Titanic (1997). It’s the little things in life…
Final analysis: The story morphs from a character study to a murder mystery, but is compelling throughout.
I applaud Allen for taking a chance on this ambitious, off format story. This is certainly a unique entry into his oeuvre.
Rating: 3 out of 4. Top notch acting by Phoenix and Stone and sure-handed direction from Allen, as usual.
Woody Allen’s 51st film is a good one, but not a great one. The stars, Joaquin Phoenix and Emma Stone, are fabulous as mentally troubled teacher and starry-eyed student, respectively. The movie is a fascinating character study of Abe (Phoenix), a freethinking, womanizing, liquor guzzling philosophy professor whose melancholia and mania (self Russian Roulette) have established a reputation that’s followed him from his former college to his new one. The shrouded details of Abe’s checkered past create a mystique that proves irresistible to impressionable ingénues and carousing cougars alike. Abe’s projection of redeemable misanthrope acts like a potent aphrodisiac on the colleagues (Parker Posey) and students (Stone) who are helplessly and haplessly trapped in orbit around him. Abe is an intriguing personality for many reasons, not the least of which is that his own personal philosophy of life, and more importantly death, is so disparate from what he teaches in the classroom. Abe’s blind spot is his misguided notion of justice. Jill’s (Stone) blind spot is Abe. Jill follows Abe around like a lost puppy dog and is high on his crafty speech and encyclopedic knowledge, both of which make him sound like he’s figured out all of life’s intricate mysteries. Jill is oblivious to Abe’s dark side for the first half of the movie but her denial gradually wears off when she hears some disturbing rumors which open her eyes to Abe’s true nature…a deeply disturbed, ice-in-the-veins killer. As such, Abe’s psychotic tendencies run antithetical to the archetypal Allen lead character (even with as messed up as Cate Blanchett’s bi-polar busybody was in Blue Jasmine, her character was sympathetic in spite of her mental condition). Abe is sympathetic at the beginning of the film but is wholly irredeemable by the end. This lack of a true-blue hero is one of the story’s biggest drawbacks. The real Achilles’ heel here, though, is the story. By switching thematic gears—from a straightforward character drama to a murder mystery/thriller—midway through the film, Allen runs the risk of confusing or exasperating his audience. However, despite its noticeable narrative modulation, the mid-movie plot shift is a unique story method and Allen’s sure-handed direction makes the transition a relatively seamless one. Irrational is one of Allen’s headier scripts; it’s heavy on philosophy and ethics but light on the signature brand of humor that marks most of his films. All things considered, this is a nice change-of-pace film for the auteur. Sadly, though it contains rich performances and a thought-provoking moral, this film fails to register as top tier Allen. If you disagree with my assessment of the movie, know that I’m doing my best to not resemble the title.