on July 22, 2009
"(500) Days of Summer" is a wonderfully refreshing experience, a romantic comedy that doesn't follow the rules of a romantic comedy. It's inventive, intelligent, and engaging, a story of the dualities a young man lives with on a daily basis. On the one hand, there's the duality between falling in love and believing that love doesn't exist; Tom (Joseph Gordon-Levitt) grew up believing in fate bringing soul mates together whereas Summer (Zooey Deschanel) grew up not believing in much of anything, least of all lasting relationships. On the other hand, there's the duality between what one would like to happen and what actually does happen; we often go through life with expectations, even though we know deep down that most will never be met. Tom is in a tug-of-war between his romantic fantasies and the reality that Summer doesn't believe in true love.
Levitt's performance is a revelation. He plays Tom with sincerity. Tom is approachable and good natured, highly confident yet not so above-it-all that he can't be desperate and miserable at times. He writes greeting cards for a living but has always dreamed of becoming an architect, and he often finds inspiration from the Los Angeles skyscrapers that surround him. His story unfolds in much the same way a memory does, with fragments that pop up all out of sequence until the reality of those 500 days become clear. Some may be confused by this, but keep in mind that memory and chronological order never go hand in hand. This is especially true when reflecting on a relationship. Tom continuously thinks back trying to make sense of it all, only to end up considering the possibility that Summer was right all along.
Deschanel, who seemed so awkward in films like "Yes Man" and "The Happening," here is perfectly cast. Summer is charming, fun, and sweet, but she's also mysterious, distant, and casual about life. She dates Tom and even makes love to him, yet she will never see him as anything more than a friend. She's with him not because she's in love--she's just having fun while living in the moment. It's about all she can do given the fact that she can't love anything, save for the length of her hair and the fact that she can cut it off without feeling anything. There are a few select moments, however, when she connects with Tom at a more personal level, inviting him into her artsy apartment and eventually opening up about past experiences. This makes Tom feel appreciated, as he believes, perhaps correctly, that she doesn't go this far with too many people.
By the end of the film, Tom feels like someone we've gotten to know. Summer, on the other hand, remains enigmatic, underscoring the uncertainty engrained in any kind of relationship. There are times when Tom thinks he has her figured out. There are other times when it seems as if they've never even met. Loving relationships are based on compromises, and while Tom would be willing to make a few, Summer most definitely would not. She does what she wants when she wants it. This is admirable, but when matters of the heart are involved, the line does need to be drawn somewhere.
Tom's emotional roller coaster ride occasionally gets the visual treatment. In one scene, he becomes the star of a musical number featuring dancers and a cartoon bluebird. In another scene, he imagines himself as characters in black and white European art house films by Ingmar Bergman and Federico Fellini. The single most creative shot has him standing in the middle of the street while the buildings transform into an architectural sketch, much like the one he drew on Summer's arm. Director Marc Webb treats these scenes not as showcases of special effects but as special moments of heightened reality, which is fitting given the battle waged between what Tom desires and what he actually gets. The most obvious interpretation of this theme is a split-screen image late in the film, one side marked "Expectations," the other side marked "Reality."
These extra touches make this movie enjoyable, but its Gordon and Deschanel that make it a joy to watch. They have chemistry. You believe in them as actual people and not merely as characters. They show just how talented they are as actors, although credit must also be given to Webb's direction and the screenplay by Scott Neustadter and Michael H. Weber. They breathe life into "(500) Days of Summer," a film we're told right off the bat is not a love story. Nor should it be; we've seen love stories before, and while they more or less work as entertaining distractions, rarely do they provide insight or even traces of plausibility. This movie is more ambitious than that. It aims to tell a story without resorting to cheap gimmicks like cliché dialogue or contrived plotlines. The end result is a story that's often funny, often thoughtful, and always compelling.
on April 25, 2009
The film's opening makes it clear: This is not a love story. It is a story about love. Told in a non chronological fashion, we see 500 days in the relationship of Tom (Joseph Gordon- Levitt) and Summer (Zooey Deschanel). For those who have seen 10 Things I Hate About You, this is an evolution of that story told in a more realistic fashion. While Joseph Gordon-Levitt pretty much plays the same character, he adds gravitas to the ups and downs of relationships which all men go through at some point. Zooey Deschanel brings her playful carefree attitude to Summer, which the movie itself is quick to point out has a very strong effect over men. While most people expect this to be a love story, it's not. It's a carefully crafted story about relationships and the highs and lows we all experience and how we focus on the highs more than the lows. The quirky humor and the wittiness brought out in the film covers the very introspective dissection of a relationship. While the ending is somewhat expected, it serves as the movies last laugh. A must see for romantics, indie film appreciators and mainstream audiences alike, this movie is the guide to growing up all boys need to become men. Especially, once they see the Plate scene. Check it out!
on June 13, 2010
First off I must confess, I do not like Rom/coms, or Rom/Drams, I would much rather watch anything and I mean anything than these genres, I feel they are stupid, unbelievable, mostly appeal to the female audience who like the unrealistic happy endings and when the guy says sweet nothings in the girl's ear, gag me with a fork....
BUT this movie is not your conventional Romantic Comedy, it's your unconventional, romantic comedy that actually keeps it real and tangible, sorry for all you "The Note Book" movie lovers out there who expect sweet, happy tearful endings.
Plot is simple, boy meets girl, boy falls in love with girl, girl dumps boy; Tom (Joseph Gordon Levitt) is a Greeting card writer whose hidden talent is architecture, meets secretary Summer (Zooey Deschanel) and we go through his trials and tribulations to win her heart. He's the hopeless romantic, she is the free spirit, wanting to keep things casual, doesn't want to fall into the norms of a relationship. Where Tom questions this relationship, where she wants to keep it simple and not muddle things. So 500 Days of Summer chronicles the bittersweet beginnings, the sudden break up and all the crazy/ befuddled/ frustrating things that go on in between.
Basically that is the plot, what works is how it is presented, we do not get a linear plot like all those other contrite unreal romantic comedies, what we get is a non linear plot that goes back and forth between Tom and Summer's relationship from the Highs to the Lows. This is refreshing. Where one scene after Tom spent the night with her we see him walk out of the building all smiles the next day (this is his High), as if he can take on the world, he is unstoppable, as if he is glowing, and through out the whole scene we see him do a dance number, shaking hands with people, strangers high fiving him, patting him on the back, he looks in a window and an image of Han Solo looks right back at him... showing him he is the epitome of cool, (what makes it so real is who hasn't felt like that, after spending a night with the one they love, feeling great the next day)
Then we see his Lows, his self loathing, his obsessing on why did they break up, that he thought for sure she was the one, it's gut wrenching real, because again we've been there and done that or had it done to us.
They try to maintain a friendship, Summer invites him to a party and Tom accepts and what we get from this scene is so unique: Where Tom hopes the Universe will finally align itself and his expectations coincide with his reality. A split screen of Tom walking up the stairs to her Apartment, the caption on the Left reads, Expectations, caption on the right reads, Reality, again we as viewers can relate to this scene as it unfolds, Tom's expectations are he and Summer some how reconnect, he gives her a small gift in the form of a book, there's the catching of each others eyes; holding the gaze, the hug, the gentle touching, the laughing, shared moments by themselves, but then he and us viewers are thrust into the reality of the situation. There is no rekindling, she thanks him for the book, through out the party he feels like a stranger in a strange land and he leaves the party in disbelief, in agony, heart broken.... much like what would happen in real life, as we always run through our heads what we think will happen and think will be the perfect evening; finally going to tell her how you feel, you have that nice dinner planned, flowers, she'll be flattered and happy, and say she has the same feelings about you. Thinking it is bullet proof and then to have it all crashing down: either she says she doesn't feel the same way bout you, or she can't make that dinner date, or met someone else, etc etc etc, we so want those events to work and have it play over and over in our minds so the outcome is always positive that when the time comes does it rarely play to our expectations and we are thrust into cold reality. I just had to marvel at this particular scene because one it has happened to me numerous times and I am sure others could say the same thing, A brilliant scene indeed.
What makes this work is the chemistry between Levitt and Deschanel, Levitt playing the forlorn, hopeless, romantic, nice guy, while Deschanel plays Summer as the care free, beautiful, sexy, men take a second glance at her kind of girl, this relationship works so harmoniously even through the tough parts of the break up, we as viewers can't help but think that somehow they do stay together, that even I thought the typical Hollywood ending would come in and they get back together... but then it be classified as your conventional love story and that is not what the filmmakers and actors didn't want it to be, it's about that love is a cold hard bitch slap that we all have felt, which as I said earlier that we all can relate too.
Kudos to the great writing, and chemistry between the actors, making something so real, and honest it's hard to do in Hollywood when everyone wants to see a Sandra Bullock Rom/Com. We all see a little Tom in us and we've all had that one Summer; I guess the message of the movie is people come into your lives for a reason, whether it be friends or the "He's/ She's the one!" moment and it turns out it's not, and that relationships come and go, new ones will be forged, and just hold onto the memories of the old ones no matter how good or bad they were, somehow they made you who you are now, I feel that how it was for Tom's case.
A great movie I must say, worth checking out, what made it so real is because I think we've all been there and felt what Tom felt.
on December 3, 2009
I hate romantic comedies. If they actually have some comedy in there, they are watchable but the relationships are often based some some kind of ridiculous premise that doesn't resonate at all with me. To call this a romantic comedy seems quite misleading. This movie was funny at times. Well directed, at times...A little gimmicky at others. Very well acted by the two leads. The thing that I loved about this movie is that it is completely true to life. It wasn't like "The Break-up" where you have to suffer through the couple arguing through the entire movie. They show (in a very clever way) the highs and the lows of Tom and Summer's relationship. I find myself still thinking about the two leads as if I was in their shoes (We probably all have been on one side or the other in our lives). What do I think of them? What do I wish she would have done differently? What could he have done differently? I don't know. One of those movies that I can't stop thinking about.
on March 5, 2012
The most important 34 seconds of this film take place at the beginning and contain the potential for a film of its own. Those critical moments occur when we briefly learn the backgrounds of the two main characters, Tom and Summer. Tom's path is paved by romantic British pop songs and a mis-reading of *The Graduate*. Summer's trail is blazed by her parents' divorce which leads her to love only 1) her hair, and 2) the fact that she can cut her hair and feel nothing.
Applying psychological analysis to a romantic comedy may strike one as deliriously over-the-top, but John Bowlby's attachment theory runs through every vestige of *Five Hundred Days of Summer*. Bowlby's original theory from the 1950s posited that an infant needs to develop a healthy attachment with at least one primary caregiver for social and emotional development to occur normally. Starting in the late 1980s researchers began applying Bowlby's theories to adult romantic relationships. Recently, writers Amir Levine and Rachel Heller published an intelligently written and consumer friendly book called *Attached* that distills these theories. The authors suggest that we tend to follow one of three behavior patterns in our romantic relationships : (The descriptions below are quoted directly from the book description.)
* Anxious people are often preoccupied with their relationships and tend to worry about their partner's ability to love them back.
* Avoidant people equate intimacy with a loss of independence and constantly try to minimize closeness.
* Secure people feel comfortable with intimacy and are usually warm and loving.
Fifty percent of the population is believed to fall into the secure category, and 50% into the insecure designation (anxious and avoidant types are split almost equally, each representing approximately 25 % of the population).
Tom is anxious and Summer is avoidant.
And certainly, I don't believe that all seven billion human beings on this planet simply fall into one of three categories, but I do believe these descriptions provide us with a vocabulary to discuss individuals' relationship tendencies and expectations.
During the previously indicated 34 seconds, we learn scant little about the past experiences that led Tom and Summer to develop their insecure attachments (although the divorce of Summer's parents is a giant clue). Is it any accident, however, that the opening credits consist solely of a montage of childhood movies? The message is clear : Something was missing in both characters' childhoods. So they wrote their own damaged scripts and have been interpreting the world through the visage of their unhealthy patterns ever sense.
Tom is the naive romantic (an average to unhealthy "4" on the Enneagram, for anyone familiar with Don Riso's work) who hasn't learned how to apply his imagination to produce healthy outcomes, and is instead caught in a dream world while waiting to be rescued by "The One." He means well, but he makes the terrible mistake of projecting his fantasies and desires onto Summer, who is basically the innocent bystander.
Summer is the classic avoidant, lacking in emotional perception and unable to read people's feelings and intentions. She is overprotective of her emotions - not to profit, but to guard from pain. Summer is intrigued by love but not willing to commit, insensitive but sometimes charming, nauseatingly inconsistent, and always placing facts over feelings.
Some will argue that Tom is a fool for slobbering over Summer, and others would say he is sweet, sensitive, and deserving. Others would argue that Summer is narcissistic and unfeeling, while others would say she is direct and succinct about what she wants (and Tom is to blame for refusing to pick up the memo). But what we really have here is the classic anxious-avoidant trap playing itself out for the entertainment of the audience and the misery of the participants.
Some would say of my analysis, "Lighten up. Stop the psychobabble. You're overanalyzing." At one time I would have made the mistake of thinking the same thing. I can understand how someone might further respond by saying, "There's no trauma here. Tom is just an innocent dreamer and Summer simply wanted to have her mid-20s fun before settling down with the `right guy,' whom she eventually found anyway. The lesson we learn from the film is that these two tried equally and ultimately weren't meant for each other, but nevertheless transformed each others' way of thinking about love. They grew as a result and took what they learned to the next relationship. It's sweet. All's well that ends well."
I think that's a fair interpretation, but the film's only major flaw is that it lends itself to such an interpretation at all.
Specifically, I'm uncomfortable with Summer's sudden marriage. This isn't entirely inconsistent with avoidant behavior, in that her actions are impulsive. However, the scars from her parents' divorce run much deeper and clearly aren't resolved, and we oughtn't be led to think that her apparent embrace of love has solved a thing. We don't see these scars in her aloof behaviors throughout the film, but clearly she bore witness to all the fighting, hurt, and brokenness of her childhood loss - she isn't healed. And just having the "right guy" walk into her life isn't enough to change her world view or shift the satisfaction that she finds from cutting without feeling. In their final scene together, Summer tells Tom she recently danced with him at a friend's wedding simply because she wanted to (with no regard for his feelings). She also says she's glad he's doing well (even though he's obviously not), and she explains that things are different with her husband because "I just woke up and one day I knew... what I was never sure of with you." Her characteristic insensitivity tells us two things : 1) That she has not grown at all due to her time with Tom. She is still oblivious to other people's needs (couldn't she have shared her feelings about her newfound love in a more tender and less hurtful way?). 2) She found Tom too anxious, but is now with a similar albeit more secure partner.
But really, what this means is that the new sucker who fell for her - who is clearly more tolerant of her avoidance tendencies than Tom - is still going to have to deal with her issues and inconsistencies through the years anyway, possibly to a breaking point. Maybe writer Scott Neustadter was trying to offer an olive branch to the woman on whom he based the Summer character, and maybe he - like many anxious types - guiltily assumed he shared equal blame when his relationship failed. But it's an enormous mistake to send such a message to the audience.
In the end, the anxious types really do have the legs up over the avoidants. Why? Because anxious types, like Tom, despite having formed insecure attachments, still believe in love and the power of connection. They have more room to grow, are more willing to grow, and if given a safe set of circumstances are willing to do The Work. The avoidants, like Summer, don't want to do The Work, and barring a life-catastrophe (which they are most likely to experience eventually as a result of their avoidance behaviors), are much more comfortable sticking with their old scripts than they are with inviting the pain necessary to break free and live a life that runs in accordance with their true essence.
Toward the end of the film we watch Tom experience the pain of wrestling free of his old illusions about love. He suffers his way to catharsis. Tom's failed relationship with Summer acts as the catalyst for exiting the old script. When he quits the greeting card company he finally rejects the old romantic love songs and movies, re-invests in his true love of architecture, and takes a chance on asking out a woman without projecting any expectations on her. The ability to act as such involved a great deal of prior work, discomfort, and courage, but the result is that a lifetime's worth of unhealthy behaviors are now extinguished.
There is no evidence that Summer's new relationship - or her time with Tom - led her to do the same. She's still an evolving wreck, and the viewer needs to better understand this when the movie ends. She tells Tom she has accepted the idea of love, and that he played a role in transforming her thought process, but I can't imagine that this transition could have occurred so quickly and easily. My guess is that Summer still has a lot of work to do to move past the associations she has lived with for years as a result of her parents' divorce.
Clearly both these individuals benefited as a result of being in each others' lives, but only Tom grabbed the oncoming train and soared into his future. The anxious and avoidant types both had it wrong, but only the anxious type worked after-the-fact to make things right. Anxious types may hold the sparkling snow too tight, but the avoidants turn the snow into a snowball and hurl it at anyone who dares to break down their walls.
So on a less analytical and more heartfelt note, I loved the movie. Yes, it's a romantic comedy, but it's Hemingway-esque sad, with 90% of the emotion weeping beneath the surface. It's sad when relationships don't work out. It's sad when people enter our world, make an impact, and then leave. It's sad that we can't stay close to all those we loved, all who loved us, and all who have ever mattered in our lives.
The film rang true because I had my own Tom-Summer experience, and scene after scene felt like a mosaic of intertwined frames from my own life. The unexpected bursts of affection, the trying to impress her with music while she doesn't even seem to notice, the checking the cell phone in the middle of the night, the waiting patiently for the moment she will finally come around, the complete exhaustion at being forced to live between the gap of the expectations and the reality... Ugh.
It's good to be reminded that we are not alone in our experiences. Others make the same foolish mistakes that we do in the game of love, and it's easy to lose sight of common sense when the heart is plunged in the depths. We are reminded that we can still have a sense of humour about it all and that hearts really do heal. Well, most of the time anyway.
The soundtrack is great too. So are the quirky cultural references - Pac-Man, Henry Miller, The Smiths, and a dog named after Bruce Springsteen. All are intelligently presented and not wrought with intellectual and cultural self-consciousness. The non-linear narrative is cleverly delivered, the acting performances from all parties are strong, and the "You Make My Dreams Come True" sequence is one of the funniest I have ever seen on film. I also appreciate that amidst the lighter moments, the film is not afraid to take itself seriously. Maybe too many people suffer from Bono-fatigue, but these days too many artists go out of their way to poke a hole in the seriousness of their work so as to earn the "s/he doesn't take him/herself too seriously" moniker. This film is brave. It is serious, and it takes itself seriously when it needs to.
So, I didn't assign this film five stars, primarily because I save five stars for films of unparalleled impact, but also because I didn't completely buy parts of the ending. Nevertheless, this one's a gem. We are treated to great directing, great writing, great acting, and a lot to think about. *Five Hundred Days of Summer* and the implications of those early 34 seconds are well worth the 95 minute journey.
on August 1, 2009
Tom Hansen (Joseph Gordon-Levitt) falls head over heels for Summer Finch (Zooey Deschauel) the new girl working at his office. The story of their relationship is told in non-chronological order, including a few highly original scenes such as Tom turning the streets of LA into a chorus line following his first night with Summer. You know from the start that Tom and Summer are bound to split up. But the movie comes together nicely in the end, showing that when one story ends another is bound to begin.
One thing I really like about this movie is that's it's the guy who is the hopeless romantic and the girl who remains emotionally distant. This contrast with the usual male-female stereotypes is refreshing and something I experienced myself when I was a young man. The movie is also quite nuanced and contains numerous references to classic literature, classic films and classic rock. In other words, it's way smarter than the usual Hollywood romantic comedy. It's also more funny and had me laughing out loud on several occassions. I do have to admit that the non-chronological sequencing of the 500 days left me dizzy at times and how much you like this movie will depend, to some extent, on how much you can identify with the main characters. But this is a well made movie and one worthy of seeing.
on July 20, 2010
This movie nails three things. That's all you need to know
(1) that first rush of love and passion. The movie's fantasy dance sequence after Tom (Gordon-Levitt) falls for Summer (Deschanel) and that idiotic happiness is just the way it feels .. . I've never seen it done better.
(2) the anger and frustration when it's clear that there is an emotional disconnect between the characters; Tom again - perfect.
(3) The pain of withdrawal and slow recovery - make no mistake, this is love addiction where a character goes cold turkey. It's tough to watch.
I don't know if women relate to this movie in the same way, but this is a movie that is A Good Guy's perspective on finding and losing love without ever really knowing the woman whom he loves and why it doesn't work. As such, Zooey's Summer is an appropriately opaque character. Her feelings, motives intentions, etc., are all below the surface; there are just those amazingly melting eyes. You could argue that her character could be more fully developed, but realistically, I think her character allows Tom to see all that Guys are able to see. Summer and Tom make a good argument for women and men being different species that happen to be genetically capable of reproducing. They are not Mars and Venus; they are more like Mercury and Pluto. Even at their final accidental meeting, Tom is no closer to understanding Summer than he was when he first met her, and it's still not clear how she feels about anything. Zooey's character has a secret heart that is just unknowable to Tom, to the viewer; maybe to Summer as well.
The disjointed, non-linear structure of the movie make the pain easier to tolerate; just a little at a time. It feels like the way you remember a relationship. So five stars for a wonderful and unusual movie. For guys, I think, it's also a True story. That's worth everything.
on February 2, 2010
When you see Romantic Comedy (rom-com) movies in Hollywood, it is so cliche, so predictable, so feel-good. It's like there's this formula that boy meets girl, feels good (or sometimes bad) then eventually, because of a significant episode (be stranded somewhere, go to one of their hometowns, there's a big project at work, etc. etc.), they will soon fall in love... and we all know the rest.
500 Days didn't jump into that bandwagon. In fact, it defied the norms of Romantic Comedies. Usually, it is the guy who doesn't believe in love and 'plays the field' and girls are the common usual hopeless romantics. But not in this flick. It's the guy who is trying to find "The One" and whose heart was broken, who moves on from this heartache. The forward-replay sequence of the days may be weird and confusing to some but this makes it very unique. It shows the contrast of Summer's before and after effect on Tom's life. And I don't think it will be just as striking if it went from Day 1 to Day 500. For me, the ending is very, very promising. Like it would stay in your mind even after the credits are rolling. It's like the ending is also something else's beginning. And the fact that it ended there leaves so many things in the viewers' imagination.
The movie had so many fun moments, I could almost relate to my own experiences (although not exactly the same, just as funny as a memory)- like that game when they were shouting the male organ in a park, the 'morning after' dancing on the park, the guessing of songs by humming it over the phone, the husband-and-wife role playing in the mall. And just as many sad moments like the reality/expectations scene, the last conversation at the 'favorite spot'. I just wasn't showing, but tears were already welling.
I also need to commend the witty script, the convincing cast (I really think Joseph Gordon-Levitt is one of Hollywood's most underrated actors) and this movie's ability to make you smile through tears. If you've been in and out of love, you know what I'm saying.
One of those rare films where style and originality don't take away from heartfelt poignancy; `(500) Days of Summer' is a beautifully composed and constructed love story. Yes, I know that it makes you painfully away in the first few seconds that it is NOT a love story, but if you believe that then you're a sucker for a tall tale. This is not a conventional love story, sure, but when all is said and done, `(500) Days of Summer' is one of the most splendidly accurate depictions of love put to film.
The film jumps sporadically through the 500 day whirlwind romance between Tom and Summer. The film actually begins in the middle, after a nasty breakup, and then jumps back to when they met and so on and so forth. This filming style has been used by quite a few filmmakers and it's a style that either works extremely well or completely butchers a movie. This is one instance where the style is almost necessary. Sure, this tale could have been told in a straight forward canonical fashion, but the film really drags us in by teasing us with future events, keeping us completely engaged as we contemplate what led up to what we are witnessing.
It was a smart move that I applaud.
One thing that I really admired about the film is that fact that Summer Finn is basically presented as a blank canvas. One of my friends noted that the film fails to really give us any reason for Tom to become so obsessed with her. In the film his sister Rachel even comments that Tom only loves her because they like the same band. The thing to remember is that the story is being told from Tom's perspective. We are not getting two sides of the story here, and so what we see is what Tom sees, and not all of it is accurate. Even the film acknowledges that, as can be seen from what Rachel says to Tom. This is a story about how we can blind ourselves to the faults and missteps of the ones we love. Tom thinks everything is perfect, everything is wonderful and so we, the audience, see everything as wonderful. Summer's outbursts and significant `pulling away' seems almost out of place and unwarranted because all we can see are the blinders that Tom has put up. It's a very bold and brutally honest move, and I really admire the film for not taking the generic route of creating a faux love hate relationship.
Nothing about this film feels `done before'.
One aspect of the film that really embraced me was the beautiful way in which it was shot. The film feels so crisp, with beautiful lighting that gives the film an almost sun drenched appearance. It's a nice compliment to the fanciful idea of everlasting love, which Tom entertains throughout. In particular is the scene towards the end, where high expectations and bitter realities are delivered side by side on split screen. The sequence is probably my favorite in the film.
The performances are all very good, Joseph Gordon-Levitt once again delivering a stunning performance, one that is much different than anything he's ever done before. He proves that he can fuse the funny aspects of his acting style with the dramatic and make it believable. He is the perfect love-sick puppy here. Zooey Deschanel (who has always been one of my favorite actresses) is the perfect doll to dote over. She is beautiful and charming and witting and interesting, and even here, when playing a near figment of Tom's imagination, she is stunning and completely commanding.
`(500) Days of Summer' has it all. It has romance, drama, comedy and it even sports a sublime musical scene that just gives the entire film a facelift. It is a very, very smart film that never sacrifices honesty for art. This is certainly one of the best films of the year, and maybe even the decade.
on January 13, 2014
In this quirky romantic comedy about love and fate, a young greeting card writer (Joseph Gordon-Levitt) is hopelessly, helplessly searching for the girl of his dreams...and his new co-worker, Summer Finn (Zooey Deschanel), may just be “the one.” But the 500 days of their offbeat relationship reveal (in no particular order) that the road to happiness can be unpredictable, uncontrollable—and unbelievably funny!