Ben Stiller delivers the best performance of his career in Greenberg. The title character is a curious and unpleasant individual. In his 20s, his neurosis cost his band a lucrative recording contract and they soon disbanded. Now 40, he has just left a mental institution and come to Los Angeles to stay in his brother's (Chris Messina) home while he visits Vietnam. Greenberg is reclusive (friends of his brother visit to use the pool and he watches them with suspicion from the window, retreating when they wave) and prone to vicious outbursts.

Stiller portrays this pitiful, self-loathing man with compassion and intensity. He is unafraid to stare into Greenberg's tortured soul and show him at his worst. Greenberg's worst includes cruel, furious, self-centered diatribes directed at the people who care for him most: Florence (Greta Gerwig), a beautiful, thoughtful woman in his brother's employ who becomes his driver and hesitant love interest, and Ivan (Rhys Ifans), the even-tempered guitarist in Greenberg's long-defunct band.

It is a challenging role: Greenberg is not a sympathetic figure, but we do not hate him either, perhaps because there is humor in his misanthropic deeds (he pens scathing, perfectly worded letters of complaint to American Airlines, Mayor Michael Bloomberg, etc.), as well as brief moments of soul-bearing concern and introspection. Stiller's performance is complex, fierce, and poignant.

As Florence, independent film icon Gerwig shines. Her eyes are haunted by a series of cold one-night stands, but her soul burns bright with idealism and love. This is an enchanting, but subtle performance by a fresh talent. A star is born. Ifans is also top-notch. The often volcanic Welsh actor delivers a dignified and moving performance as Ivan, a man who endures (a painful trial separation, his friend Greenberg) quietly and with steadfast loyalty.

Greenberg is directed by the talented Noah Baumbach (The Squid and the Whale). He and cinematographer Harris Savides (Zodiac) perfectly capture the sunbaked Los Angeles milieu. Baumbach also penned the screenplay, notable for its fabulous, idiosyncratic characters and admirable refusal to conform to a conventional, plot-driven structure. (Baumbach and wife Jennifer Jason Leigh developed the storyline together. She also has a brief role as a long-past flame of Greenberg's. He, of course, has not moved on as much as she has.)

"Hurt people hurt people," Florence says to Greenberg. It is true, but they also might learn to understand and love each other and this film captures every magical, painful incident along the way.

A

P.S. James Murphy's (LCD Soundsystem) first film score is superb. I was surprised by it in many ways. It doesn't at all resemble the glitchy, tense, tight indie-electronic sound of LCD ("Daft Punk Is Playing at My House," "North American Scum"). It's atmospheric and gentle and open and often acoustic, with almost a melancholy Beach Boys feel. Oh and if my eyes didn't deceive me, Murphy has a super-brief cameo during the birthday party sequence.

Hated it. Hated spending time with the characters; hated the screenplay's vaugeness; hated the smugness seeping through the screen, and hated the ending. It's a good thing for Greenburg that his brother happened to hire the most self conscious and least assured woman on the planet. Of course they're destined to be together. Shut up Noah and Jennifer. Then again you're allowed a dud. And boy was this a dud. I did like Greta Gerwig though. Didn't buy her character, but I liked her if that means anything.

*

And word of mouth on this is going to be rancid. Lots of laughing and sighs when the credits came up, from the mostly mature (I think I was the only one in the theater who was under 25) audience. The audience as a collective whole seemed to pretty much hate it.

You're wrong. And it's Greenberg, not Greenburg.

W.O.M. will be mixed, though, I agree there. The film will be beloved by a few (myself included), loathed by others, and God help the few mainstream Meet the Parents/Night at the Museum fans who wander in.

Then again, anyone who saw the trailer and goes in expecting a Meet the Parents type film will get what they deserve.

I found it largely unbearable. Greenberg's constant criticism of everyone else and inability to recognize his own faults, and later insistence that everyone else should face who they are like he does may be some kind of satirical point to the character, or a criticism of people's behavior, but it just comes off as pretentious hypocrisy. The film is entirely a "character movie," consisting of little plot and few overreaching points, which would be fine if any of the characters were remotely likable. They are not, however, they are unhappy venomous people completely incapable of coming to terms with their immaturity and simply talk to each other. As such it is a very frustrating and meandering film without the any focus.

I essentially agree, with slightly less passion.

I found Greenberg very relatable. Disguising depression, insecurity, and regret with cynicism and indignation. Many scenes hit very close to home for me.

I feel bad for this film. IMO, it's a tough and true character study far too many people are easily dismissing.

I definitely love it, though. It has a secure spot in my top ten of 2010.

The trailer for this felt like everything I hate about the hipster indie genre... but then I read AO Scott's raves... and his 1,000 words talking about Gerwig could be the defining actress of her generation... and ugh... now I have to see it

This is one of the few cases in which I have to heartily disagree with A.O. Scott. He's a great critics, but everyone makes mistakes.

Greta Gerwig is stunning in this. It's a Carey Mulligan in An Education style breakout performance.

So not nearly as good as sabu then?

...?

Oh, Sandra Bullock.

I quite liked this. Greenberg is clearly obsessed with himself and considers his IQ/wit superior to everyone's, but nobody considers him as interesting as he does either in the film or in the audience and the film is set up to mirror his point of view. This creates an dynamic where the film is set up as if Greenberg is the superior lead, but we'd much rather watch Florence and dislike it every time she's booted off screen. I believe the first 10 minutes plays into this. The camera sticks on Florence the entire time and we even believe for a moment she's the title character. Then Stiller comes in and takes the centerpiece of the film from her

Really though what makes the film work is Stiller and Gerwig. The best parts of the film by far are their scenes together. They carry the film. Stiller almost loses himself as an actor in the character which is impressive as he's one of those guys who you usually can't watch without thinking "he's Ben Stiller". His controlled stiffness fits very well beside Gerwig's loopy openness. Speaking of Gerwig, I can see where Scott's lavish praise is coming from now, it wouldn't surprise me at all if Greta Gerwig was a household superstar name in a couple years. She has all the tools. Top of the line acting talent and not only is she attractive, but I believe her acting plays into this as well. She has an aura and natural presence on the screen that just pushes Florence to another level of attraction and likeability here. She has the "it" factor. Gerwig will be a star, good roles and motivation to be mainstream permitted

A thought it was a wonderful little movie. If Greta Gerwig isn't a household name in a few years, something is wrong. She was absolutely wonderful in this and Ben Stiller wasn't too shabby himself. I thought it ran a little long at times (the party sequence) but in the end, I thought it was a great little flick and I loved how it ended.

8/10 (A-)

I'm pretty sure my eyes and ears weren't closed/plugged throughout this whole movie, and yet I saw/heard nothing from this actress to indicate any real talent at all. She played the awkward, uncertain, struggling girl without much trouble but, y'know, it's not a hard fucking role. She added nothing particularly interesting to the conventions of that character and had no real emotional depth. My dislike for her is my deterrent for subscribing to shack's theories about the film's intentions. If she were an interesting or notable character his synopsis could very well be correct, but she was not, thus the film was loathsome.

No, you are loathsome.

GREENBERG - 7/10 ( B )

Really liked it, but I didn't love it. Greta Gerwig was wonderful. She stole the show, IMO. Sadly she won't be remembered come awards time. Don't think she ever stood a chance, unless this had been released during awards season, then possibly. After this role, I do think people will take note and she'll have her chance again in the future. She's too good to dismiss.


On a sidenote, the UNITED STATES OF TARA kids are appearing in a lot of Focus Features movies lately. Zosia Mamet pops up in this and THE KIDS ARE ALL RIGHT, Brie Larson is in this, and Keir Gilchrist is in the upcoming IT'S KIND OF A FUNNY STORY.

Greenberg's script may be a bit off at times but it's thanks to the performances of Ben Stiller and Greta Gerwig that make it succeed. Considering the former has been in mostly comedies for his movie career, it is nice to see him pull off some solid acting chops here. Gerwig is strong as well, maybe not as strong as some have been saying and deserving of an Oscar nomination, but she is still solid. The offbeat chemistry the two has works even if the script doesn't make it work for them at times. The movie does have good dark comedy moments such as Greenberg's constant complaint letters and the film does keep its momentum going the entire time but the film as a whole is not a complete home run. **1/2

Greenberg is an asshole and totally uninteresting; a killer combo.

Florence is totally uninteresting and a tramp; a killer combo.

Still one of the best of the year.

I'd buy this movie for Gerwig alone. She stole the film.

Greenberg

Stiller doesn't have the thespian range for this role. He still exhibits the same put-upon, down on his luck, socially awkward schtick that Gaylord Focker began back in 2001, and that Stiller has so mundanely kept going in almost every picture since. So, the first problem is the lead star. Wrong choice. However, by the end you probably cannot picture anyone else in the role - for whatever reason that is, I'm sure it's not because of Stiller's talent. And Gerwig, Ifans and Leigh all turn in unspectacular, workmanlike performances.

But I like the character of Roger Greenberg, sort of, and I believe the script is well written from great life observation. The line about being fine about doing nothing, and calling each other "man" so as to poke fun and imitate others, plus the OCD stuff etc. is all good, and I'm glad there is a film that has documented it. While watching it I was hot and cold on the editing. Sometimes I thought it was abrupt and oddly placed, other times I thought it moved well with an independent finesse. But the use of music is pretty non-existant apart from in the opening credits (abruptly cut) and about half way through (too short).

The film ultimately goes nowhere and means nothing, but it does have many interesting and relatable observations about people, so despite the fact that nobody shone in this film, and that it's aimless and therefore pointless, it's not totally useless.

C+