The Disappearance of Eleanor Rigby: Them 2014 123movies

Watch: The Disappearance of Eleanor Rigby: Them 2014 123movies, Full Movie Online – Following the death of their only offspring, an infant son named Cody, married New Yorkers Conor Ludlow and Eleanor Rigby – a struggling restaurateur and an academic working on her Ph.D. in Anthropology before Cody arrived in their lives – hit a rough spot in their relationship. Although still loving Conor, El is uncertain if she can bear what Conor represents to her and bear the grief even if Conor is no longer in her life. Following an incident, El decides to disappear from Conor’s life, she taking refuge at the suburban home of her parents Julian and Mary Rigby, an academic himself and a musician respectively. Just to keep her mind active and off the thought of Conor or Cody, Julian suggests to El that she return to college and he pulls some strings for El possibly to enter into his colleague Professor Lilian Friedman’s class. Despite being a therapist himself, he also tries to get El to see a therapist to deal with her grief. Meanwhile, Conor is facing his own emotional and professional problems, he believing his life being clear when he was with El. The restaurant was in part following his father Spencer Ludlow’s professional footsteps, although Conor does not like to believe he is anything like his father in temperament, he who is on his third marriage, each of the previous two which failed. As Conor tries to locate El, he also has to deal with the downward slide of the restaurant, which he opened in another part as a cooperative arrangement with classically trained chef Stuart, a longtime friend who nonetheless doesn’t treat cooking with much seriousness. Conor also has to deal with the logistics of packing up his and El’s apartment which includes what to do with Cody’s belongings. In his loneliness, Conor may fall prey to other women despite still loving El himself. With these two parallel tracks, the question becomes if they can find each other again both physically and emotionally..
Plot: A New York couple’s relationship is tested after the loss of their child. This film is the wide-released combination of the original two :him and :her volumes that premiered at the Cannes Film Festival.
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Ratings:

	6.3/10 Votes: 12,567
	66% | RottenTomatoes
	57/100 | MetaCritic
	N/A Votes: 252 Popularity: 10.677 | TMDB

Reviews:

A Great Approach and Objective, with a Sloppy Execution
Yesterday, I went to see The Disappearance of Eleanor Rigby for a pre-release screening by Louisiana International Film Festival. As the directorial debut for Ned Benson, this movie stars James McAvoy and Jessica Chastain as a young married couple that eventually crumbles. It is a combination of three short films: Him, told from the perspective of James McAvoy’s character, Connor, Her, told from the perspective of Jessica Chastain’s character, Eleanor, and Them, which features their relationship.

Truth be told, I wanted to like this movie a lot more. Some of the parts were very intriguing, and then some other parts were like watching paint dry. The romantic scenes with both of them together were the most interesting and fascinating. Their chemistry together was great, and their connection was felt and natural. With the two separate perspectives, however, I was drifting in and out. At one point, I even dozed off. Both perspectives were unbalanced, as I felt like there were more parts with Eleanor than there were with Connor. Or at least, I got more out of Eleanor than Connor. From Connor’s side, it was a decent tale, but there wasn’t a lot of his story coming out, and it wasn’t very exciting or interesting, even with the addition of Stuart (Bill Hader). Eleanor’s side was a lot more dominant, and it was a mixed bag. It provided more interest, thanks to the subplot with Eleanor and her sister Katy (Jess Weixler). At the same time, some of that was repelling. The actions and behaviors that I got came across as redundant, childish and stand-offish. In other words, the subplot has a yin and a yang.

The approach that Ned Benson took was very original and rare. He built a full-length story out of three short films that all tie in together. It’s a very inventive approach, and someday, there’s going to be a filmmaker out there that gets it 100% right. Sadly, for The Disappearance of Eleanor Rigby, the narrative structure felt disoriented. As a whole, the movie was lost in translation. The objective was understandable, which was to showcase how they fell in love and where the marriage fell apart, but it was tough to interpret that from beginning to end. Pulp Fiction is one of many examples that pull off a great movie with a non-linear narrative. This movie was nowhere near that level, but it did a good job in its efforts. Also, there were more things that I felt needed to be elaborated on. The story was lacking a lot of things that would’ve carried out the premise successfully. Instead, it only felt somewhat unfulfilled.

If I can separate those short films and judge them by themselves, they would’ve been very successful. They are very genuine stories, they had some almost superb acting performances, and their intentions were very smart. In my personal opinion, taking these three short films and merging them to create a 2-hour movie resulted in a jumbled narrative. The objective of the story got lost in the shuffle, the plan went halfway, or maybe too many ways, and in the end, there was some emptiness left inside. Not just for our two lead characters, but also for the viewer that went in with high expectations. Perhaps, they needed to be combined in order to tell the same story, but it would’ve been better off as a side-by-side collection of short films, or at least it should’ve been given a better structure. Yet, this was the movie that I ended up getting, which was OK overall, but I expected more. Eh, it happens.

Score: 50/100

In a nutshell, HIM, HER and THEM
The sadness of being an incorrigible completist, I have to finish all these three films before writing my review, Ned Benson’s ambitious feature-length debut is a post-trauma story of a young couple Conor (McAvoy) and Eleanor (Chastain) in New York after losing their child in an unspecified accident, HIM centres on Conor and HER centres on Eleanor in the same time period, then interweaves these two versions together, there arrives THEM, one can get an overall view of their paralleled life. So basically, I have watched the same movie twice, and certain scenes three times where the path of Conor and Eleanor converges.

The premise is soundingly intriguing, as often cornily referred as two separate cerebral hemispheres, the film allows viewers to observe how men and women think and act differently towards the same scenario, in this case, a heartbroken tragedy. In HIM, the movie starts with one of their most intimate memory before their bereavement, an inadvertent thrill in their ordinary life sparks strong romance with Conor amorously says: “There is only one heart in this body, please have mercy on me”. Then it jumps to several months of the aftermath, Eleanor uses an extreme method to declare that their life can not sustain as the status quo, they need to take a break. Conor doesn’t understand why she needs her alone-time for her grievance, he is equally heartbroken, but he is ready to move on, leaving the tragedy behind with a seal on it, not to mention and keeps living on afterwards. He opens a bar with his best friend Stuart (Hader) and a flirty barmaid Alexis (Arianda) who is ready to “falling in love with him madly if he allows her”. Meanwhile his father Spencer (Hinds) owns a successful restaurant named after Conor’s mother, whom he dumped ages ago, it is also a thorny decision for him whether or not to swallow his pride to admit failure and take the restaurant inasmuch as his bar is on the brink of bankrupt, it is a privileged struggle as a rich kid’s blues.

In HER, no romantic prologue, Eleanor is introduced in her abrupt suicidal behaviour, then she returns to her bourgeoisie parents living in the suburb (played by Hurt and Huppert, he is a university professor and she is French), she goes back to the college and takes a class of professor Lillian Friedman (Davis), before long Conor finds out her whereabouts, stalks her in the street, in the classroom and eagerly to reconnect. As Hurt carefully phrases “Tragedy is a foreign country, we don’t know how to talk to the natives”, Conor’s tentative makeup doesn’t work, Eleanor needs to be over-indulged in the past for some time before finally moving forward, plus, she can spend all the time she wants in Paris, to heal her wounds, after a whimsical but failed reconnection during a pouring rain and a vis-a-vis opening-up in the middle of the night, it is rather tedious for her to realise that she should take a real break out of the Tri-state area. The disparity erected between each and every individuals cannot be compromised, only when they arrive in the same page with the same pace, they may have a chance to start anew as a couple.

As often as he can, Benson intends to throw snappy verbal rejoinders to sound posh or vivacious, but most of the time they are ill-placed (“Now YOU sound maternal” throwaway) and uninspired, as most of the dialogues verge on beating around the bush either without any substantial function or being painstakingly predictable. Yet the two leads is recommendable in any rate, so it is safe to say the film is perfect for McAvoy and Chastain’s stalwarts, both set off a full gamut of emotional overhaul and not to mention many close-ups to let their fans luxuriate in the idolatry. Among the eclectic supporting cast, Huppert radiates in every scene simply by holding a glass of red wine in her hand, and Davis thrusts her raw gravitas into her casual bantering with her THE HELP (2010, 8/10) co- star, as an outsider, she is the one who pierces through the surface without any scruples, only if she could have more screen time in it.

The indie soundtrack is an understandable trapping of the prevalent mumblecore output, it’s ambient, moody and meditative, tailor-made to outline the disposition of the storyline. Collectively speaking, the films attempt to be artistic and unique, it could have hit the bull- eye with all such a talented group, only if it could subtract the permeating tint of narcissism, and conjure up some more salient epiphany. At last, the THEM version abridges some minor sequences and merges HIM and HER with an intact take on the proceedings. There is no new scenes added, so one can choose to watch HIM and HER, or THEM, either is sufficiently competent to disclose its allure and drawbacks.

Other Information:

Original Language en
Runtime 2 hr 3 min (123 min)
Budget 3000000
Revenue 1448076
Status Released
Rated R
Genre Drama, Romance
Director Ned Benson
Writer Ned Benson
Actors James McAvoy, Jessica Chastain, Viola Davis
Country United States
Awards 3 wins & 9 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format Digital (Digital Cinema Package DCP)