#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – While visiting an art museum, a nerdy college student named Adam meets an iconoclastic artist named Evelyn and is instantly smitten. As their relationship develops, she gradually encourages Adam to change in various ways that surprise his older friends, Jenny and Philip. However, as events progress, Evelyn’s antics become darker and darker as her influence begins to twist Adam and his friends in hurtful ways.
Plot: Quiet, unassuming Adam is changing in a major way, thanks to his new girlfriend, art student Evelyn. Adam’s friends are a little freaked by the transformation.
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A brilliant piece of modern film-making.
Terrifying but so true tale about the way people can control us and the reasons we just let them do it. Rachel Weisz is amazing as art student who makes changes to a lonely guy who just wants to fit in. The story in true Neil Labute fashion takes a macabre turn and makes you question everything that you have done in your relationship and gives you a well deserved punch in the stomach in the reality department as well. The acting is beyond top of its game with Rachel Weisz proving once again to be one of the most talented and gifted actresses of our generation. Her performance is beyond brilliant and she single handily carries this movie on her shoulders with her performance. Paul Rudd, Fred Weller and Gretchen Mole do great work as well and Neil Labute proves once again to be a profound playwright of uncanny wisdom of the evil that resides in the human heart.
I do hope that Weisz and Labute work together again.
The premise set in large type on the gallery wall of Evelyn’s art school installation,”moralists have no place in an art gallery,” seems such a blatant contradiction to her stated intentions (and by extension to Neil LaBute’s) that it is hard not to suspect that there is some irony (or self-delusion) intended by its conspicuous signing as the backdrop for LaBute’s compelling and open-ended denouement. (The quote is attributed to Han Suyin, pen name of the Chinese-born Elizabeth Comber, whose fascinating career, for those interested, is summarized on Wikipedia at http://en.wikipedia.org/wiki/Han_Suyin). LaBute’s thinly veiled allusion to the Fall played out by Adam and Evelyn, noted by many commentators, is perhaps the most fundamental and complex of morality tales, with Adam and Eve each owning their proper share of responsibility for the outcome. (The premonition of Original Sin is played out in the opening scene, when Evelyn, in her hubristic pursuit of “truth” prepares to spray paint a penis on the monumental, fig-leafed Hercules in the art gallery, to which Adam, by walking away, symptomatically acquiesces). It is difficult, as such, to find in this morality play a clear expression of LaBute’s misogyny or misandry. Adam and Evelyn are fundamentally co-conspirators, perhaps true to their fallible, gender-determined natures, who in LaBute’s canny postmodern twist on Original Sin, are left to contemplate the harsh realities of their hard-won knowledge. If the ostensible purpose of Evelyn’s sophomoric MFA project is to rail against “indifference,” surely in the metamorphosis of Adam, who hurls the painful, “potty-mouthed” expletive at Evelyn in the final scene (“F**k you, you heartless c**t”), we find that a greater knowledge has been won, as much about his own weakness as about the putative nature of women. Evelyn, for her part, played with complex ambiguity by Rachel Weisz in this final scene, exits conspicuously diminished by her “triumph.” She no longer displays the confidence, and barely a shadow of the former diffidence that is her signature throughout the play. She has sacrificed all for her “art,” which is laid bare as a dubious conceit regarding art’s moral purposes. If her purpose was to expose Adam’s lack of a center, she no less exposed her own. The gallery is empty — none of the large audience that attended her performance (save Adam) is inspired to explore the installation, and she stands pathetically alone and forsaken, it seems, vulnerably clutching herself in the gallery (the body language seems to acknowledge representations of Eve handed down by Masaccio, Michelangelo, and Rodin). Paradoxically, she asks Adam as she makes her exit: “Are you coming?” The presumption is that in spite of the travesty she has vested upon Adam, they are inexorably linked to each other, each the fulfillment in their way of each other’s worst nature. Adam demurs, of course (there is much to be said for knowledge, in spite of its costs). In this morality play, LaBute leaves it to us to sort out the consequences of fallible human behavior, and whether or not we find either of the principal players redeemable, he nevertheless leaves no doubt regarding our need to acknowledge the moral deficiencies of our archetypal ancestors. He is fundamentally a moralist in this regard, deeply rooted in the vague hope that art (in this case his, not Evelyn’s) may transform us. In the last analysis, this is a humanistic impulse that transcends the superficial misanthropy suggested by the weaknesses of his all-too human characters.
Original Language en
Runtime 1 hr 36 min (96 min)
Genre Comedy, Drama, Romance
Director Neil LaBute
Writer Neil LaBute (play), Neil LaBute (screenplay)
Actors Gretchen Mol, Paul Rudd, Rachel Weisz, Frederick Weller
Country USA, France, UK
Awards 1 nomination.
Production Company London Films
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium, Panavision Primo and E-Series Lenses
Laboratory FotoKem Laboratory, Burbank (CA), USA
Film Length N/A
Negative Format 35 mm (Kodak)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm (Kodak Vision Premier 2393)