In a small Southern American town, Paul, who is known for having sexual relations with every girl in town, falls in love with his best friend’s younger sister who is a virgin. Paul must try to prove to everyone that this time he is in love rather than in lust.
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It is difficult to forget the languid beauty of the opening scene. Like first love, this film represents the poetic naiveté of its director and friends (including d.p. Tim Orr, who does his best work here). Comparisons to Cassavetes and Malick are valid. Whatever happened to David Gordon Green happened after ALL THE REAL GIRLS. Recent films may have diluted Green's 'personal vision'…but we'll always have this.
A romantic dreamland, or wasteland, where endlessly talking characters collide and explode. It's sentimental, honest, slow-paced and sad. It should feel stilted and corny, but somehow it works and it's heartbreaking. The performances are exceptional. The look feels dated, but in an appropriate way. Muted, desaturated colours. A dying landscape - autumn. A wonderful movie to revisit.
There is a weird combination of "Badlands", "The Deer Hunter", and "Blue Valentine" in that film. A dream-like atmosphere with raw emotions. All the dialogues, that may sound cheesy and corny in another film, sound perfect and honest here. Wonderful.
"I had a dream that you grew a garden on a trampoline, and I was so happy that I invented peanut butter." this movie is so sweet, quirky, and sentimental; it makes me wanna puke. I want to like this but it's too earnest and boring.
Against expectations, I enjoyed this. Not thoroughly; the relationship never felt entirely believable, but it was nuanced and not hackneyed. Go positive, and we have characters you want to believe in, gorgeous cinematography, and a sympathetically likeable soundtrack. Good work.
I am genuinely at a loss for how to rate this film. Disillusioned by the opening, I somehow persevered through to the hour mark where the piece finally hit its emotional mark. The second act became an emotionally charged and pointedly sharp hitting movement. Redolent of Deschanel's 500 Days of Summer, this film unexpectedly finds itself on a similar trajectory, drawing parallels to the 2009 chronological follower.