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Should've won best actor!!!
The acting by Philip Seymour Hoffman is the absolute best performance I have seen since Nic Cage in "Leaving Las Vegas".The story is simply captivating which allows for good story telling with great acting.ONE NOTE, out of all the people I have shown this movie to they didn't like it too much.I suppose this is a very dark movie which some people do not like.The...
Publié le Mars 2 2004 par CALLAHAN
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Hoffman Does What He Does Best
Philip Seymour Hoffman is one of the greatest character actors of this era. His brother penned this story to suit his best known character - that of a hopeless loser, a character he does all too well. Beginning with the suicide of his wife by garage gasoline fumes (gas becomes a continuing motif throughout the film), Hoffman spends the rest of the film in a downward...
Publié le Juil 7 2003 par Martin A Hogan
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Hoffman Does What He Does Best, Juil 7 2003
Philip Seymour Hoffman is one of the greatest character actors of this era. His brother penned this story to suit his best known character - that of a hopeless loser, a character he does all too well.Beginning with the suicide of his wife by garage gasoline fumes (gas becomes a continuing motif throughout the film), Hoffman spends the rest of the film in a downward spiral. He is befriended by a mentally challenged man who's only passion is gasoline motored airplanes and boats. This fills much of the film and presents what seems to be endless tedium. Hoffman drowns his sorrows by constantly sniffing gas and we meet his much too trustful boss, his neighbors doper kids and the wasted Kathy Bates as his mother-in-law. Bates does manage to bring some life to her character, but it's too little, too late. The climax is all fixed on the non-stop tension caused by the unopened suicide note. By the end of the film, we realize why his wife died and why this film goes up in smoke. I can't wait for his next film, truly.
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Should've won best actor!!!, Mars 2 2004
The acting by Philip Seymour Hoffman is the absolute best performance I have seen since Nic Cage in "Leaving Las Vegas".The story is simply captivating which allows for good story telling with great acting.ONE NOTE, out of all the people I have shown this movie to they didn't like it too much.I suppose this is a very dark movie which some people do not like.The character is very much like Nic Cage's character in 'Leaving Las Vegas'. Depressed and abusing himself.Unlike LLV, this one does have displays of caring and touching characters that help keep the movie entertaining. It's like a adventure movie to discovery of one's plight and characters that intermingle very well into the film.If I was to suggest this to anyone,I would say this:IF YOU ENTIRELY LOVED EVERYTHING ABOUT "LEAVING LAS VEGAS", then you should love everything about "Love Liza".Has the same qualities and story telling as that classic. If "Leaving Las Vegas" had ANY elements that you didn't like about it, then you probablly won't like 'Love Liza". Plus this movie is a bit shorter unfortunatly at only 88mins.I loved everything about this movie and if I was an Academy member it would've won Best Actor & Best Picture for that year.For the DVD extras it has about as much as they could give you.The writters along with Hoffman do the commentary and give some great insight to the movie and their thinking.
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ALEXS CAPSULE MOVIE REVIEWS, Nov. 15 2003
Highlights: Yet another incredible performance from Phillip Seymour Hoffman; poignant script; darkly hilarious moments; good maintaining of a pessimistic atmosphere.Lowpoints: It is evident that it's the director's, Todd Luiso's, debut - the film seems to avoid subjects that get excessively intricate, and bombards the audience with pompous, supposedly meaningful subtlety - in other words, Love Liza is pretentious at times; the film supplies its audience with no resolution, though foreshadows one throughout, which might leave some agitated; Love Liza's perpetual pessimism might upset viewers. Conclusion: Though ostentatious at certain points, Love Liza is a worthy little addition to any indie DVD collection. It will dazzle with its central performance, and astound with some incredibly nuanced scenes. SEE THIS IF YOU LIKED: Magnolia, Punch Drunk Love, Wings of Desire, About Schmidt.
DON'T SEE THIS IF YOU LIKED: Maid in Manhattan, any Julia Roberts film.
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ALEXS CAPSULE MOVIE REVIEWS, Nov. 15 2003
Highlights: Yet another incredible performance from Phillip Seymour Hoffman; poignant script; darkly hilarious moments; good maintaining of a pessimistic atmosphere.Lowpoints: It is evident that it's the director's, Todd Luiso's, debut - the film seems to avoid subjects that get excessively intricate, and bombards the audience with pompous, supposedly meaningful subtlety - in other words, Love Liza is pretentious at times; the film supplies its audience with no resolution, though foreshadows one throughout, which might leave some agitated; Love Liza's perpetual pessimism might upset viewers. Conclusion: Though ostentatious at certain points, Love Liza is a worthy little addition to any indie DVD collection. It will dazzle with its central performance, and astound with some incredibly nuanced scenes. SEE THIS IF YOU LIKED: Magnolia, Punch Drunk Love, Wings of Desire, About Schmidt.
DON'T SEE THIS IF YOU LIKED: Maid in Manhattan, any Julia Roberts film.
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A Hoffman showcase, Nov. 10 2003
Love Liza, written with Philip Seymour Hoffman in mind, is a showcase for arguably one of the greatest contemporary actors working in film. Hoffman portrays Wilson, whose wife unexpectedly took her own life, leaving him with only memories and a suicide note he is too afraid to read. Unable to cope, Wilson turns to huffing gas to dull his senses, and it is a move that plunges his life further into ruin. Along the way, the film explores the friendships Wilson has forged with his mother-in-law and an unusual RC toy enthusiast.With each cleverly-framed shot, director Todd Louiso effectively portrays the sense of isolation and solitude that the film's protagonist must be experiencing, and Hoffman's characterization of Wilson is absolutely devastating in its effectiveness. However, on some level, Love Liza fails. Obviously meant as a character study, Love Liza loses a great deal of its effect in the fact that the supplementary characters don't really possess a lot of depth, nor do they help elucidate much depth in Wilson's character. The plot is rather thin at times, and doesn't really explain how Wilson gets hooked on huffing. Was this something he did before his wife's death, or something new he does to cope? However, the movie is redeemed in part by the denoument, which ends in a way both predictable and unexpected, though I won't divulge any details. All in all Love Liza, is an excellent showcase for Hoffman's talents, but it falls a little flat by underplaying its potential for emotional effect.
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Seymour Hoffman's first Major Role is Perfect!, Oct. 30 2003
It is safe to say that Philip Seymour Hoffman is one if not the best character actors today. I've been waiting for him to get a major role, and finally it has arrived. In a scrip written by his brother, Philip plays a man who is dealing with his depression over losing his wife in a suicide. Hoffman can portray grief better than any actor I've ever known. Subtly, and tastefully. The screenplay is good, although you can tell that Philip's brother is new to writing screenplays, because there are a few minor problems, the biggest being the fact that Kathy Bate's character clears out all belongings in Philip's house and takes them over to her house in a short time. This seemingly impossibility was noticed by the Hoffman brothers, but they could think of no better way to better portray her wanting Hoffman to see that he "had everything".
The main reason to go see this movie though is for Hoffman's brilliant performance. He gets inside the role, and acts the hell out of it. Kathy Bates and his chemistry works so well, and his emotion is out on his sleeve as you see him revert to a stage of childhood after losing his loved one. Go see it!
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Excellent Film, Oct. 9 2003
A movie which is faithful to human pain, anguish and sorrow.
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Phenomenal performance and script., Oct. 6 2003
This movie was phenomenal and was gone from the theatres way too quickly -- but luckily for all of us, it's now available on DVD. Phillip Seymour Hoffman's tragic, grief-stricken performance was one of the highlights of this film -- it's about time he was cast in a role that was tailor-made for him as this one was ("Love Liza" was written by his brother Gordy Hoffman).This film is an excellent portrayal of a man who is coping with the suicide of his wife and who adopts a hobby to cover up a huffing habit as if he were a rebellious teenager. The film ends as abstractly as it begins, without falling into the Hollywood trap of tying everything up into a neat little package, and for that we can all be grateful. It will be interesting to see where director Todd Louiso and the two Hoffmans go next.
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a searing study of grief, Aoû 18 2003
Philip Seymour Hoffman has made a career out of playing deeply depressed characters. In "Love Liza," he has found what might well be his most perfectly suited role to date, that of a young man trying to come to terms with the suicide of his wife.Written by Gordy Hoffman and directed by Todd Louiso, "Love Liza" is a searing study of grief, one that chronicles the many stages a man goes through in coping with this type of tragedy. Wilson first finds himself unable to sleep in the same bed he used to share with his wife. Then he returns to the place where they spent their honeymoon in a vain attempt to find some solace or answers there. Then there's the turn towards self-destruction as he seeks escape from his pain by inhaling mass quantities of gasoline. All along the way, well-meaning friends, colleagues and family members proffer what they can in the way of support and sympathy but, invariably, they find themselves ill-equipped to deal with grief at this level of intensity. This is even the case with Mary Ann, Wilson's understanding mother-in-law, who is having to cope with her son-in-law's dysfunction while also dealing with her own grief at the loss of her daughter. The title of the film comes from a signed suicide note Liza left to Wilson under his pillow. That letter, which Wilson cannot bring himself to open, only adds to the man's despair, for he fears it may reveal that he was somehow responsible for his wife's actions. Thus, wracked with guilt as well as grief, Wilson slides ever further into that deep dark hole of despair. The filmmakers, in an effort to mitigate some of the misery inherent in the subject matter, invest the story with a number of sly, quirky touches, such as Wilson's sudden obsession with mechanized toy airplanes. But the overwhelming sadness is never far from the film's surface. "Love Liza" is, at its core, an actor's film - and the cast proves itself worthy of the challenge. Hoffman's portrait of a man whose entire meaning for existence has been knocked out from under him is devastating in its understatement and power. Kathy Bates turns in an equally fine and subdued performance as his grieving mother-in-law, and Sarah Koskoff and Jack Kehler offer fine support. Is "Love Liza" a "dark" film? Absolutely. But it is also a brave, insightful and compelling one for those willing to enter its world. It may not be easy to watch, but it is probably harder not to.
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Love Pain, Aoû 1 2003
It's difficult to describe the visceral desolation conveyed by this film. I can't think of a single other performer (perhaps maybe Billy Bob Thornton) who could have carried this off. Hoffman's pain is the audience's pain. His compulsion to dull the pain (by, of all things, huffing gasoline) is sadly understandable, even familiar. He's trapped. He can see no other acceptable way out.He sleeps on the floor because it's the only place in his home (the home where his wife committed suicide) where he CAN sleep. He should move out, buy a new place. His obnoxious mother-in-law (also grieving) only reminds him of his pain. He should reach out to her - they can help each other work through this pain. His mother-in-law understands their need for each other - he does not. A profession of attraction for him from a colleague only reminds him of his loss and desolation, causing him to sprint back to his increasingly grim, wood panelled abode where he huffs fumes to the point of delirium, ultimately taking off for days on a bizarre odyssey involving miniature boat racing and his only would-be friend, a hobbyist whose friendship he ultimately rejects. People who care about him are everywhere - yet he pushes each and every one of them away. Toward the end of the film, his desperation is palpable and his home has become a mausoleum - empty, desolate, full of fumes (can you smell them?), and his own, almost dead, soul. Almost. He can run. But he cannot hide, from himself, or from God. Hoffman's embarassment, cowardice and fear are achingly real. This intimate film makes us feel his pain yet not reject him for his failings. Who among us is unlike him? Do you dare to look down your nose at his suffering? The ending to this film is oddly satisfying. It requires genuine faith on the part of the viewer to believe that Mr Hoffman is going to be all right, after all. I believed it. Did you?
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