That's not the half of it. Kaufman has one of the busiest minds in movies. He oozes with the kinds of paranoia and invention that used to make Woody Allen funny; but he's crazier.
Synecdoche, New York (2008)
Tomatometer
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Reviews Counted:163
Fresh:109
Rotten:54
Average Rating:6.6/10
Consensus: Charlie Kaufman's ambitious directorial debut occasionally strains to connect, but ultimately provides fascinating insight into a writer's mind.
Australian Theatrical Release:
May 7, 2009 Wide
US Box Office: $2,971,177
Synopsis:
Theater director Caden Cotard (Philip Seymour Hoffman) is mounting a new play.
His life catering to suburban blue-hairs at the local regional theater in Schenectady, New York is looking bleak. His...
Theater director Caden Cotard (Philip Seymour Hoffman) is mounting a new play.
His life catering to suburban blue-hairs at the local regional theater in Schenectady, New York is looking bleak. His wife Adele (Catherine Keener) has left him to pursue her painting in Berlin, taking their young daughter Olive (Sadie Goldstein) with her. His therapist, Madeleine Gravis (Hope Davis), is better at plugging her best-seller than she is at counseling him. A new relationship with the alluringly candid Hazel (Samantha Morton) has prematurely run aground. And a mysterious condition is systematically shutting down each of his autonomic functions, one by one.
Worried about the transience of his life, he leaves his home behind. He gathers an ensemble cast into a warehouse in New York City, hoping to create a work of brutal honesty. He directs them in a celebration of the mundane, instructing each to live out their constructed lives in a growing mockup of the city outside.
However, as the city inside the warehouse grows, Caden's own life veers wildly off the tracks. Somewhere in Berlin, his daughter is growing up under the questionable guidance of Adele's friend, Maria (Jennifer Jason Leigh). His lingering attachments to both Adele and Hazel are causing him to helplessly drive his new marriage to actress Claire (Michelle Williams) into the ground. Sammy (Tom Noonan) and Tammy (Emily Watson), the actors hired to play Caden and Hazel, are making it difficult for the real Caden to revive his relationship with the real Hazel. The textured tangle of real and theatrical relationships blurs the line between the world of the play and that of Caden's own deteriorating reality.
The years rapidly fold into each other, and Caden buries himself deeper into his masterpiece. As he pushes the limits of his relationships, both personally and professionally, a change in creative direction arrives in Millicent Weems (Dianne Wiest), a celebrated theater actress who may offer Caden the break he needs.--© Sony Pictures Classics
Starring: Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener
Starring: Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener, Emily Watson, Dianne Wiest, Jennifer Jason Leigh, Hope Davis, Tom Noonan
Director: Charlie Kaufman
Director: Charlie Kaufman
Screenwriter: Charlie Kaufman
Producer: Anthony Bregman, Charlie Kaufman, Spike Jonze, Sidney Kimmel
Composer: Jon Brion
Studio: Sony Pictures Classics
Reviews for Synecdoche, New York
A haunting meditation on ageing, the purpose of art, and the nature of mortality.
So dense, so complex and so downright puzzling that even Kaufman fans may balk at it.
A nightmare for those who like things served easy -- but if you relish off-the-deep-end bravado, its pleasures are boundless.
Kaufman's directing debut is as intricate and thought provoking as all his writings, an often surreal, sometimes obtuse and occasionally funny work of great complexity. It's a challenge for audiences, who will no doubt divide into heated camps.
Some of it works; much of it does not. In any event, Kaufman fans can be assured there is plenty to talk about as fantasy and reality twirl together in dizzying fashion
Inaccessible and endlessly frustrating, Synecdoche is replete with art-house pomposity and the type of muddled profundity one sees in an introductory philosophy seminar.
Kaufman, who once dazzled us with his japester's invention, uses those same tools to do something else here. He leaves us reeling.
This is a classic Kaufmanesque work: bold, bizarre and utterly baffling.
This is a movie designed to provoke, entertain and infuriate, that boldly goes into areas where few films from the English-speaking world nowadays dare penetrate.
Synecdoche, New York finally feels bitter, hollow and adolescent: like a gargantuan music video conceived for an emo band with a penchant for Pirandello.
Synecdoche (pronounced Sih-neck-doh-kee, by the way) is beautifully acted throughout, scripted by Kaufman with the same valorous unorthodoxy as his Eternal Sunshine of the Spotless Mind, and shot with real panache.
Somehow, because it resists unlocking, it feels more serious, troubling, significant. It’s as funny as it’s depressing. It’s as brilliant as it is baffling.
A toweringly ambitious and bafflingly confusing film that gives a glimpse of the daily battles going on in the director’s mind.
The film is either a masterpiece or a massively dysfunctional act of self-indulgence and self-laceration. It has brilliance, either way: surreal, utterly distinctive, witty, gloomy in the manner that his fans will recognise and adore.
A difficult, maddening and elusive film that’s also intriguing, profound and darkly funny.
For too long Caden (and Kaufman) are raising big issues and only grasping at the edges, which makes the film frustrating to watch.
Like the play within the film, Synecdoche is bravely ambitious, with glimpses of Kaufman’s genius. But it’s also an indulgent slog that only the most diehard Kaufmanites will happily endure.
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