Aprendiendo de mí

Aaron Eckhart, suave and manicured, is surprisingly effective in role as middle-aged sad sack Bill, a disgruntled, directionless human resources executive at his father-in-law's bank who's stuck in a loveless marriage to cheating spouse Elizabeth Banks. The tone of this character portrait is half black comedy and half satire, but Eckhart almost makes the lumpy journey worthwhile (he's an extremely courageous and focused actor, flexible but not a ham). Jessica Alba is fun as a friendly neighborhood salesgirl, but a subplot involving a mouthy teenage boy who chooses Bill to be his "mentor" is excruciating (a duck-hunting sequence with Bill's wife's family is also flabby). Screenwriter Melisa Wallack, who also co-directed with Bernie Goldmann, is careful to let Bill be his own person, but their ultimately victorious "I don't know where I'm going but I'm happy to be here" theme doesn't wash in the end. ** from ****

I'm not much of a comedy fan, mostly because in recent years they've strayed too far into smart-ass one-liner dumb-formula potty-humor cardboard-cutout territory, which is fine if you like that sort of thing, but I don't.

This, though, is an old-fashioned comedy with heart. Can Bill make his life better with the help of a precocious teen? Sure he can. But the way he gets there isn't just the standard formula, and that makes it a fun watch.

It also helps that the technical work is all top-notch, and the supporting cast is pitch perfect, from the staid father-in-law to the somewhat manic doughnut franchisers.

This isn't a movie that will make you guffaw and belly laugh for an hour and a half, but it does make you feel inspired and offers a few chuckles along the way. In that regard, it reminds me of "Charlie Bartlett," "Juno" and "Rocket Science."

I'm glad this style of comedy didn't die out because of the Farrelly Brothers' success. Their kind of comedy is redundant and dumb -- this type leaves you happy for a while. And Hollywood should do that more often.

I don't know how these people get the money and the green light to go ahead and make a glorified multi-million dollar STUDENT FILM. That's what this was a student film with some names in it shot as a H'wood type film. Bad bland unfunny writing and bad execution. The whole time I'm watching this flick I'm wondering with my jaws dropped how these people get away with this? I guess they got the go ahead because somehow they managed to convince Aaron Eckhardt to do it. It may have been some thing he saw in the script that made him think he wants to do this. Instead in the final analysis this just turned out to be bad. A substandard fare with bad execution and pathetically straining to be funny. A complete waste of your time.

I attended the World Premiere of "Bill" at the Toronto International Film Festival. That fact alone is actually surprising to me, as my viewing habits tend to lean towards dramas, and this is anything but. In fact, festivals this year have been weighed down by heavy films that are about as dark as they come. "Bill" could not be more different, and what a refreshing change and much-needed uplift is this all-out, unabashed comedy. Co-directed by the husband-wife team of Bernie Goldmann and Melissa Wallack (who penned the script), "Bill" has all the elements required of the genre: characters to whom we can relate, a clever storyline, and laughs aplenty.

Aaron Eckhart ("Any Given Sunday," "Erin Brockovich," "Thank You for Smoking") is Bill, smack dab in the middle of a life becoming all-too familiar. His job is falling apart (he begrudgingly works for his irascible father-in-law), his marriage is going to pieces, his body is going to pot, and, perhaps most horrifying, his hair is rejecting his head. Bill needs a change, fast, and is not-so-voluntarily signed up for a mentoring program at the local high school. He is teamed up with young Logan Lerman ("The Butterfly Effect," "Hoot," "3:10 to Yuma"), who plays The Kid, literally (Lerman's character is never identified by name), and the two join together in battle to fight the demons at the heart of Bill's midlife crisis.

A magnificent ensemble cast including Elizabeth Banks, Timothy Olyphant, Jessica Alba, and Kristen Wiig (and far too many more to mention) are all up to the task of providing enough comedic fodder to fill several films. Discussing their characters in depth would be too revealing, and my policy is to allow the reader to find a synopsis elsewhere if desired. Ultimately the partnership between Bill and The Kid is what drives the story, and the chemistry between Eckhart and Lerman is central to the success of the film. And it works. The Kid is smart, streetwise, sexy (or so he thinks), and has the self-confidence of someone thrice his age. In short, he's everything Bill aspires to be. It's a role-reversal device that's at the heart of many classic comedies, and Wallack's brilliant writing makes it work.

Despite being an independent film (read: low budget) "Bill" has the look of a Hollywood movie. The design is bright and the sound and editing give it a crisp, bouncy feel. Best of all, the cinematography with Peter Lyons Collister at the helm is second to none. He's one of the best in the business, a classic comedy veteran, and it shows.

It's always hard to single anyone out in a fine ensemble cast but in both screenings I attended Lerman stole the show. He unquestionably got the biggest laughs and was the crowd favorite. I hesitate to call him a newcomer, as at the tender age of 15 he already has 10 movies and 23 television episodes under his belt, but he's one to watch for and has a bright career ahead of him. But this is Eckhart's film to make or break, and his sense of comedic timing and puppy-like ability to elicit just the right amount of empathy from the audience create those touching moments that leave the viewer wanting more. And so I attended the second screening as well, and enjoyed it even more. And that's the true test of a comedy. From this writer's perspective, "Bill" not only hits its mark but is also sure to be a winner for years to come.

I just watched Meet Bill last night, and while it wasn't fantastic, it was definitely worth the watch.

This movie follows the main character Bill, who, after a series of downfalls, realizes life isn't going they way he wanted. He then offers to mentor a rich, self-assured high school student. In the end, the student more or less ends up mentoring Bill, and helps him to change his views on life.

I thought the chemistry between Logan Lerman (the kid) and Aaron Eckhart (Bill) was fantastic! they both did a great job with their role, and stole the whole show. These roles were out of style for both actors--I've never seen Eckhart do comedy, and Lerman's character was much more rebellious than usual. It just shows the talent of both actors, especially the versatility of Lerman. The rest of the supporting characters were slightly under-developed.

The style of comedy in this movie is more..."old school" in my opinion. It's not slap-stick or non-stop laughter, but the comedy is inter-weaved throughout the film, with several vary funny scenes and one-liners. I would say the film is geared toward audiences from the mid 20s to mid 40s. However, I am a 16 year old female, and I enjoyed the film.

The plot does get lost a bit, and some characters are under-developed, but overall it's a good independent film. Is it the best or funniest movie you'll ever see? Probably not. But it delivers a style of comedy not found often these days, and if you connect with the style and the story, you will definitely like this movie.