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The supporting cast here are old hands, suitably able and effortlessly talented, each and every one of them. Monaghan's Kara, a patronising, control-freak that appears to have tired of Doug and his lack of drive years ago, is not usually seen leaping to roles that cast her in a negative light and it could have backfired, but she does more than enough to make the audience dislike her, if only for the harsh treatment of the loveable Doug. Femme fatales don't come any more alluring than Olivia Wilde, who could play the role of Elizabeth in her sleep, had she a mind to.
This is not challenging work for her, but she is excellent as the apparently new raison d'etre for Doug's existence.
She smoulders with a purpose. For a while, the audience will wonder if she will show a different side as she keeps you guessing with regard to her true intentions. In all, a very enjoyable hour and a half that will entertain you throughout.
The 50 Best Good Bad Movies
The writing is excellent as is the delivery. It is a simple tale, told with some nice embellishments from a great cast. You will do very well not to grin almost throughout. It has relatively few laugh out loud moments, but nonetheless, you can expect to be impressed by this project that zips by without you so much as missing the time. TVJerry Mar 16, Sam Rockwell plays an unassuming pharmacist whose bleak marriage and unhappy life is disrupted by a sexy customer Olivia Wilde. It starts with sex, but her love of the mood-altering effects of pills soon changes his life. When a plot is this predictable, it's vital that something about the Sam Rockwell plays an unassuming pharmacist whose bleak marriage and unhappy life is disrupted by a sexy customer Olivia Wilde.
When a plot is this predictable, it's vital that something about the characters, the performances or the way it's made makes it stand out. Rockwell and Wilde manage to make a good case, but the lackluster direction and unoriginal script keep it in the mediocre range. At Criterion Cinema only … Expand. GreatMartin Mar 14, Sam Rockwell, as a pharmacist, is turned on to his pills by Wilde and soon they are having an affair, each cheating on their spouses, jokingly talking about killing her very wealth husband and running off together.
“Better Living Through Chemistry” Movie Review
Halfway into the movie we know this isn't a film noire, aside from being filmed in beautiful technicolor, and it becomes a not so funny comedy which is hard to point the blame. The film was written and directed by Geoff Moore and David Posamentier with the screenplay being sharp with some snappy lines along the way eventually going astray and too many coincidences but the director doesn't bring out the best in his actors.
There is also a puzzling narration by Jane Fonda, who has one brief scene at the end, which seems completely out of place in the film. More From Metacritic. Watch all of this week's new movie trailers including new looks at The Find a list of all movie and TV titles headed to disc in November, Get a list of the best movie and TV titles recently added and coming Current Movie Releases.
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Scott offers many alibis for his methodological shiftiness. Scott does not grasp that the fullness of vision he seeks may occur not before the work of analysis and absorption, but only after it. A first look is a literal look. The controversies of interpretation—choices about sense and meaning and value and truth—are what reveal a thing in all its aspects. Believing is one of the conditions of seeing.
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Like almost everyone on almost every street corner, Scott preaches epistemological humility. It is one of the chief platitudes of the day. We are finite creatures with finite standpoints.
Better Living Through Circuitry () - IMDb
We work in the dark and we do what we can. Everything is tentative and nothing is certain. We live after Hume and after Hayek. A dream of definitiveness is a will to power.
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And so on. They may be wrong, but the fervor with which they are espoused is not what proves or disproves them. Perhaps it is their specificity that counts against them, their exclusion of other principles; but this exclusion is not coerced, it is reasoned, and anyway every principle does not go with every other principle and so every principle cannot be right. Intellectually honest attachment is as common as intellectually dishonest detachment.
There are parties, moreover, to which it is an honor to belong. His likes and his dislikes are never confining, or all-in; they do not inhibit his lighthearted promiscuity, his Arts and Leisure roaming, which in his pages looks merely like curiosity and an appetite for his profession. As for the sciences, modesty is hardly all they teach: They progress by defying the limits of what is known, and they owe their excitement in part to the immodesty of the astonishments that they claim to know.
So let us learn to stretch again. The impossibility of perfect certainty does not condemn us to a vapidly uncertain life, to a life of small thoughts about small things, as if all we can be are metaphysicians or shoppers. It all depends on the scale that we elect for our questions, on how high we aim. What we do not need now is another cheerful exhortation to aim low. Scott disdains, for the partiality of their perspectives, the pessimism about movies that was expressed by some of his precursors. They are animated by large principle and an unembarrassed grand view of the art.
They are criticism.