I couldn't sit through all of this movie. Just had to leave. We lasted somewhere into the middle of this boring dialogue posing as a movie. Maybe it gets better in the last half. The idea is not that bad. It's just that when the actual interview starts, it's so dull and goes on and on and on. With questions and a script that might have worked in a high school play. The acting is good. I just don't understand how this is a movie. It was a novel. Maybe the adaptation was the problem. It never seems to get off the ground. Just talk, talk, talk, talk in a sort of monotony. All very affable and unengaging. No dramatic tension. I don't understand all of these reviews on here that rave about this. What's the big deal? I think I missed the point. But I wasn't going to sit through another 45 minutes of that.
The End of the Tour (2015) 1080p YIFY Movie
The End of the Tour (2015) 1080p
The End of the Tour is a movie starring Jason Segel, Jesse Eisenberg, and Anna Chlumsky. The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place...
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The Synopsis for The End of the Tour (2015) 1080p
The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'
The Director and Players for The End of the Tour (2015) 1080p
The Reviews for The End of the Tour (2015) 1080p
I couldn't sit through until the end of the tourReviewed bymax-850Vote: 4/10
Rarely am I enlightened by a film in the way I was by this one. Not that I was lectured or taught something, but that I had a visceral response to what I had experienced on screen that I wouldn't be able to explain but to ask you to recall a song or a book or a show that invited you to pour your soul into it and in return reminded you of what it was like to have one. I was reminded that films can do this.
I don't expect everyone to like it to the degree that I did because I can only base my strong inclination towards this movie on the connection I personally made with it which was emotional rather than intellectual, although the film is rich and lingering in its intellect as well, and of course; I recognize what makes this film profound, which I'll try to explain.
This is a talky film from director James Ponsoldt, who I'd now have to rank as one of my favorite contemporary directors after this and another I've seen and loved, The Spectacular Now. This director isn't one you'd normally find on a list ranking among the greatest working today because he's not about style and doesn't appeal to the ego as much as other contemporaries such as Wes Anderson and David Fincher do (in addition to many others, not to single them out). No, Ponsoldt is subtle and reserves his ego. He is unimposing on the lives of his characters and candid about what his films are trying to do and say, not hiding beneath film rhetoric or allegory or the impression of a representational work. And what's great about this is how his films point out that you don't need intricate sets or perfectly symmetrical shots to create beauty. This film has some of the most beautiful shots I've seen (the shot of them walking in the snow, the shot of the normally- withdrawn Wallace dancing), all the more so because of their subtlety, giving the feeling that the beauty was discovered and not created by the director.
But the beauty is often created by the actors. Ponsoldt trusts his actors and puts his efforts towards making the characters come alive before our eyes. I was under the fantastic impression that I was witnessing a completely real human soul with Segel's performance. He felt so real, so three dimensional. I understand him, even though I am not him. This is more magical to me than sweeping camera movements or extravagant art direction.
I didn't realize when watching the film that the dialogue is all based on, if not directly taken from, the tapes journalist (and protagonist) David Lipsky (Eisenberg) recorded of his interviewee, universally acclaimed novelist David Foster Wallace (Segel). The dialogue is rich with insight into the character's thought processes and their observations on life (but mostly those of Wallace). I was riveted at every moment the two were talking, feeling as though being revealed before me were the truths of life. The thrill of being a fly on the wall. And it's not just the words containing the wisdom of the thoughtful and complicated Wallace, but the delivery via the actors and the way in which the many hours of tape are edited to allow Wallace's ideas and observations to resonate. Even beyond Wallace's ideas, the film cuts to the core and observes Wallace as a human being, not different for his brilliance but the same for his humanness.
The film is about so many things it would be overwhelming to attempt list all of them. Its ideas, however many, are all-encompassing of what it means to exist, which is, beyond the desire for fame and ego-boosts, to want to be understood. The film observes how the inner-worlds of all people are so uniquely complicated and pays tribute to that wonder. I'll be relating my experiences to this film in time to come.
I've never read Infinite Jest. I don't even know what it's about, besides the themes I've gathered from watching this film now. I do know that David Foster Wallace's novel is a 1,000 page opus written in the mid-90s that has been ranked among the masterpieces of the 20th and 19th centuries, far surpassing his peers. It's the ultimate goal of an artist with any amount of ego they will or will not admit to, beyond touching a generation but also adding something canonical to culture in a timeless way. I was firmly hooked onto the premise of The End of the Tour and invested into what it had to explore.
Not only am I a sucker for films I can directly identify with like this, but I adore films that pry apart hero worship. That's why I love my all-time favourite film, Andrew Dominik's The Assassination of Jesse James, besides its splendid grandeur. The End of the Tour is a grounded version, as Lipsky's undercover agenda is to try to steal Wallace's secrets or at least see what it's like to accomplish his own dream. The film strips away myths and glamour, keeping the air dusty and rugged, focusing on them as only tender human beings rather than figures revelling in fame. It's a study of ambition and success in the face of depression and daily ennui.
Films as understated as this usually aren't the type to linger and grow on me. Nor is it the type to offer consolation when I'm feeling down as it makes no effort to offer warm sentiment with its chilly setting and rocky acquaintance between the two main characters. But it's gratifying and fascinating to find that someone who has achieved what David Foster Wallace has achieved still sometimes feels no different from normalcy. Not unsatisfied, but certainly waves of feeling underwhelmed relative to what he expected.
In many ways, Lipsky's encounter with Wallace is underwhelming for him too. There's something very endearing about the way Lipsky approaches the interview as if he's about to make his next best friend, but Wallace soon cuts him down when he gets too close, crushing him and us back down to reality. Jesse Eisenberg gives a performance more sensitive than he's done in a while, even more sensitive than the meek side of last year's diptych The Double. However, he's outshined by his unlikely co-star Jason Segel, who although is irritating at first, eventually grows on you like a big lug, and imbues all of David Foster Wallace's many compelling contradictions with expert nuance.
Despite the snow, their chemistry is electric, and while its comic sensibilities are aiming for chortles and chuckles, I had a big smile on my face for the whole first half of the film. Enough to earn an equally dour frown when their tenuous friendship is threatened by an arbitrary misunderstanding. It's a low-key film, but it hit my core with its stimulating existentialism regarding the low-key days in our life and at our lowest, the depression episodes of complete numbness. Wallace's eventual suicide is mostly an elephant in the room, but the film tries to connect you with him rather than consider itself a cautionary tale.
But the film isn't a sombre nonfiction My Dinner With Andre. What pushes The End of the Tour to another level is in the way it's operating on many ironies from its construction. One of its points is how idols and talents are represented in the media. Wallace refuses to give himself up because he knows Lipsky will edit the narrative in whatever sells best, and like all of us, he would be most comfortable to edit it himself. But the film is a representation of him as an idol. The unedited tapes again are a representation of him as an idol. It's inescapable and the narratives of our lives are formed by the memories of others.
There's also a statement to be made in Wallace's casting. The film makes a point that Wallace's addiction was to television as opposed to his vice with drugs and that's a theme of Infinite Jest. So they cast Segel, a huge TV star in a bingeable TV show, and one completely believable to sit in front of the television all day. It's a thought-provoking reflection on the vicious cycles of how we spend our lives on a daily basis, if you succumb to routines in front of screens like I do. That time adds up. Even if you're achieving or trying to achieve something on the side.
This film is the best example of why James Ponsoldt is one of cinema's most promising directors, perhaps the most promising director. Starting with the rough-but-worthy Smashed and then following it up with the didn't-have-to-be-nearly-this-good The Spectacular Now, he's on an upward trajectory that shows no signs of slowing. Perhaps The Spectacular Now was overzealous in hindsight, but what wrapped me up in it so much was its vibrant cinematography and wonderful wistful score. It captures teenage anxiety like this captures adult anxiety.
Here, Ponsoldt gives everything to his actors, just lets them play with Donald Margulies's insightful and fluid script, and it's paid off thusly. He's accomplished something special here and the best thing is that there's still a lot more room to grow given the limits he's set himself. It's too complex to be summed in a nutshell but it's a film about living up to your own expectations and the expectations of others and if there's anything to take away, it's to wind that pressure gauge down to a more comfortable degree. After this, I am thoroughly refreshed with priorities well adjusted. Next dose of your filmmaking please, Ponsoldt.