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Runtime: 86 min
Rating: Rated R for language including sexual references, and some drug use
Production: Electric City Entertainment
Genre: Drama
Country: USA
Language: English
Director: Chris Messina
Stars: Mary Elizabeth Winstead, Don Johnson, Chris Messina
Alex of Venice (2015) Critic Review: Workaholic attorney Alex is forced to reinvent her life after her husband suddenly leaves. Now faced with the humdrum and sometimes catastrophic events that permeate the fabric of our lives, Alex discovers both a vulnerability and inner strength she had not yet tapped all while trying to hold together her broken family.
IMDB : http://www.imdb.com/title/tt2977090/
Reviews By Critics For "Alex of Venice" (2015)
Sheri Linden | Los Angeles Times
Chris Messina's "Alex of Venice" is as much a love letter to the Los Angeles neighborhood as it is a well-observed drama.
Manohla Dargis | New York Times
Katharine Pushkar | New York Daily News
The film is so uneven, the characters and relationships so undeveloped, it's hard to work up much sympathy.
John DeFore | Hollywood Reporter
As she flails through a few dubious choices, the character may be on
the kind of self-discovery path we've seen in countless other films; but
Winstead makes the outcome seem far from preordained.
Barbara VanDenburgh | Arizona Republic
Although it's enjoyable, actor Chris Messina's directorial debut is
somehow less than the sum of its parts, wading only through the shallow
end of familiar human conflicts resolved too conveniently to satisfy.
Mike D'Angelo | AV Club
There's just really nothing about this woman or her circumstances that merits an entire feature film devoted to her.
Alex of Venice Movie Review By MDbReviews
Chris Messina's Alex of Venice is a friendly fool that takes after the main character and her family all through a mixed bag of residential hiccups both little and unobtrusively amusement evolving. Alex is an obsessive worker ecological rights lawyer, and her spouse, George , is a disappointed craftsman or something to that affect who stays at home and deals with the suppers, the house, their child, Dakota and in addition Alex's dad, Roger, a stoner performer with a propensity to overlook his meds. George is in a circumstance that has hindered numerous stay-at-home folks, as he's developed to despise what he sees as his part of nursemaid to his wife's aspirations, which is exacerbated by Alex's steady nonattendance and her connection to her cellphone when she does figure out how to appear. At the opening of the film, George leaves, constraining Alex to re-extent the different properties of her life.
The film's centered on a predictable redemption theme: Alex will, of course, learn to appreciate her family and to qualify life in fashions that aren't tethered to professional accomplishment. The pleasant surprise resides in Messina's light touch with that banality; he uses the plot as a way to organize vignettes that mostly exist for the sake of their own beauty. It's a cliché to say that an actor turned director exhibits a generosity toward fellow actors, but Messina displays a charmingly palpable affection for his cast, allowing moments to drift until they resolve themselves with an unexpected grace note that might not arise with a more conventionally disciplined sense of narrative. Roger, for instance, may be showing signs of Alzheimer's, or a comparatively debilitating mental disease, but that thread isn't explicitly mined; instead, it's represented through Roger's performance in a local production of Chekov's The Cherry Orchard. It would be easy to envision such a subplot as a joke in a crass director's hands (Mr. Miami Vice doing Chekov), but Messina allows Johnson to plumb the poignancy that's always been inherent, and underexploited, in his persona.
But Winstead is the reason to see the film. She has a wonderfully round, open face, and an expressive physicality that wrings pathos from minute gestures. She doesn't turn Alex into a cartoon careerist shrew, off of which to score easy points; like Johnson, she informs her character with a level of vulnerability that's largely missed by Alex's over-worked staff and by a family of eccentrics tending to their own obsessions. Like Messina, Winstead rarely hits the obvious beats, particularly in a moment when Alex is trying to discern from a new lover whether or not she was any good in bed. Winstead plays this scene, movingly, as a thirtysomething who's recently become reacquainted with the uncertainties of adolescence.
Beginning with its title, which may be deliberately reminiscent of Alex in Wonderland, Messina gives off an impression of being imitating the unpredictable, melancholic, at last sui generis class comedies of Paul Mazursky, which frequently offered a lot of knowing setting on a gathering of blame ridden yuppies without seeming to break a topical sweat. Messina's capable at catching Mazursky's tenderness, and he has all the earmarks of being progressing in the direction of a visual layering style that demonstrates the forefront and foundations of the casing fitting or disharmonizing as outlines of the vivacious thickness of group. These layers are complimented by the warm hues, which create the Venice, Los Angeles setting as a kind of enchanted shoreline domain represented by at last immaculate feelings. Messina is in the long run verging on excessively apathetic regarding the maneuvers of the plot, however Alex of Venice, however inevitably wistful, is a sentimental fantasy that throws a beautiful spell.
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