49/33
David Kaplan: Yeah
Mismatched cousins reunite for a tour across Poland to honor their beloved grandmother. The adventure takes a different turn when the odd couple’s old tensions resurface in the context of their family history. When Benji and David visit their grandmother’s home in Poland, the place is where Jesse Eisenberg’s real-life ancestors settled in the diaspora. Benji Kaplan: We stay moving, we stay light, we stay agile. Benji Kaplan: The conductor comes by, takes the tickets, we tell him we’re going to the bathroom. David Kaplan: The bathroom. Benji Kaplan: He gets to the back of the train, he starts moving towards the front looking for stragglers. David Kaplan: Sorry, are we the stragglers?
Benji Kaplan: Yeah
By the time he gets to the front, the train will be in the station and we’ll be free. David Kaplan: This is so stupid. Tickets are probably twelve dollars. Benji Kaplan: That’s the principle of the thing. We shouldn’t have to pay for train tickets in Poland. This is our country. David Kaplan: No, we don’t, this was our country. They kicked us out because they thought we were cheap.
Featured on CBS News Sunday Morning: Episode #4644 (2024)
12 Etudes, Op. 25, No. 3 in F MajorWritten by Frédéric ChopinPerformed by Tzvi Erez. Jesse Eisenberg’s sophomore effort as a writer-director is unconventional. There’s something of Richard Linklater’s BEFORE trilogy in the DNA of A REAL PAIN, with a recognizable legacy of Michael Winterbottom’s TRIP series also apparent. The meandering pace, the languid cinematography that asks you to look beneath the surface of the tourist sites, the dialogue that meanders through an unpretentious and structureless unpacking of the meaning of life, the complete absence of “bad guys,” the near total absence of any overt conflict, the slightest hint of any goal guiding the plot beyond the completion of a simple itinerary… A Real Pain shares all these realistic traits with the earlier, more spirited and invigorating films. Yet somehow…
it doesn’t quite work
I’m not sure what made me never really like this movie. I think a big part of it is all the supporting characters (i.e. everyone except the cousins played by Eisenberg and Kieran Culkin). Will Sharpe’s non-Jewish tour guide, the Rwandan convert, the old couple, the sexy divorcee… the characters are all very basic, very conventional, very boring. The actors who play them are good, but they don’t have much to do, and so they seem artificial and lifeless, more like scenery than people. Eisenberg knows how to direct a camera, I think; he knows how to set up the right cinematic elements. But maybe he doesn’t know how to direct actors, or maybe he just doesn’t know how to write characters.
It’s a decent indie film with some good laughs, some interesting ideas, a memorable tour of Poland, and a solid performance from Culkin
There’s no suggestion that these people exist beyond the moments we see them, which could perhaps have been remedied by more spontaneous improvisation on the actors’ part. Eisenberg and especially Culkin are better in this regard, but there’s still something rather stilted and “scripted” about much of what they say and do. Eisenberg’s “workaholic salesman with OCD” is largely one-dimensional, and the few times his character extends beyond that façade feel more like forced acting than any kind of genuine glimpse into something deeper. Culkin is wonderful – a glimpse of his Succession character perhaps if Roman Roy actually cared about people – but I think that’s just a credit to Culkin’s talent; he somehow manages to transcend what he’s been given to work with.
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