The primal character in both is an adrift fellow in his mid-20s living at home who is seduced by a lecherous older woman but really wants a good-looking woman his own age, putting the young man in a morally reprehensible position (McCarthy 131).
Reeve, Matt. The Pallbearer. Miramax, 1996.
Yet bit The Graduate explored those moral ambiguities, The Pallbearer only uses them as a backdrop for a film that pushes Schwimmer forward as an appeal personality.
In this way, the film seems more of a vehicle to make Schwimmer a star than it seems a film with a vizor of view of its own, while The Truth About Cats and Dogs does have its own point of view and it sown style. There may be a lesson in this--The Truth About Cats and Dogs will presumable produce a star in Janeane Garofalo, while Schwimmer is non likely to gain oftentimes from The Pallbearer. It is the quality of the film that counts for the near with audiences today.
Clearly, the Uma Thurman movie is doing better in its second spend than the Schwimmer movie in its first. Indeed, the drop-off in grosses for the second weekend was only 14 percent for The Truth About Cats and Dogs, and that is a very good sign. Whether the Schwimmer film drops off by that much or not, it has little chance of increasing its grosses significantly fair to middling to rival the other film. The difference may be that Uma Thurman is better known to film audiences than is Schwimmer, and in any part his television popularity has not carried over to this film.
The weird central premiss of the script by debuting director Matt Reeves and Jason Katims establishes an initial mysteriousness that makes the film seem edgier than it is. A TV-like sensibility asserts itself early on in the handling of the humor and characterizations that pushes the material straight down the core of the road (McCarthy 131).
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