The End Of The Tour (2015)
Critic Consensus: Brilliantly performed and smartly unconventional, The End of the Tour pays fitting tribute to a singular talent while offering profoundly poignant observations on the human condition.
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Critic Reviews for The End Of The Tour
I can't speak to its veracity, but I loved Segel's work here, playing Wallace as someone who over-analyzed everything, to a compulsive, near paralyzing degree, while still managing to be the most interesting, literary guy in the room.
By the time we're at the end of 'The End of the Tour,' it's arrived at something thoughtful and true about being a writer-and, even better, about being a real person.
Strong performances from the lead actors anchor the film, but the world depicted is rather too hermetic for anyone not immediately interested in the subject matter.
It's essentially a two-hour conversation about life, love, selfhood, art high and low (Wallace was a television addict) -- and I did not want it to end.
Despite the depiction of rivalry and discomfort, its tone is not harsh; there's something restrained and carefully poignant about the film and the rueful reverence it displays for its central figure.
The performances, the writing, the direction, Segel's D.F.W. impression, everything is just fine. But The End of the Tour is disgraceful. It feels like it's towing out the real Wallace's ghost to perform some soppy parody of himself.
Audience Reviews for The End Of The Tour
Jason Segel and Jesse Eisenberg star in the powerful character drama The End of the Tour. Based on a novel by Rolling Stone reporter David Lipsky, the film follows a five-day interview that Lipsky had with acclaimed novelist David Foster Wallace during Wallace's publicity tour for his novel Infinite Jest. Segel and Eisenberg give incredibly good performances and have great chemistry together. And, the discussions that the two have are fascinating; covering a variety of deep issues that are quite thought-provoking. However, the gritty film style can sometimes be distracting (though the rawness does add a certain reality to the scenes). The End of the Tour is an extraordinarily compelling film, and succeeds largely due to its sharp, witty dialog and the earnestness of the performances.
Experimenting with one-sentence reviews, and but also plus in the style of this film's subject, the inimitable David Foster Wallace, allows me to say that The End of the Tour is good in like the way that makes high-brow intellectuals, complete with black turtlenecks, white-framed-liberal-free-trade glasses, and Match.com profiles that reference Wittengensteinian praxis and well-researched Proust quotes, think they're sideline-spectators with the howling fantods at genetically superiors' like most significant life-event, but yet also the film fails to achieve full high-ejection, supra-orbitular virtuosity because while we get to know DFW's AM/PM TV-obsessed, like almost stereotypically basically totally-American self-perception, his fame, the thing that keeps him in a state of intra- and interpersonal solipsism and the thing that he's, during the whole Entertainment, like a orange-flashlighted construction worker screaming, howling, imprecating, "No, no, Lipsky, this way is only a carrot, not the brightly-lit Show you think you know!" and the thing that ultimately probably caused him to extinguish his map, is like totally unexplored because, aside from the sycophantic organizers, the people who burden DFW are largely absent and told but yet not shown.
If I hadn't read the book, and if I hadn't found it among a lacklustre movie selection on a transatlantic flight, I'm not sure I'd have watched the movie. Well cast, and well-written, but it's not so well-suited to the screen... And if I, the target audience, didn't really go for it, I'm not sure what the general audience will make of it; that's not to say that every movie has to please everyone, but suffice to say that this one's not for everyone.
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