Aqui é o Meu Lugar

It's very difficult to get a handle on Sean Penn's aging rocker character. One thinks he has fried his brain. He speaks and acts slower than anyone I have ever seen. He looks the same as he did in the 80s, including makeup, but has lost interest in his music.

Cheyenne (Penn) is married to Jane (Frances McDormand). They have been together for 35 years. Not only is this the opposite of what one would expect of a rock star, but she works as a firefighter. No, they are not broke, it's just what she does.

The two of them are surrounded by some interesting characters in a film that moves at a snail's pace.

You never really know where it is going, but at the end you realize that it was good for Cheyenne to get out of his world and grow up.

Premises are interesting. I would always watch a movie about/focused on the life of a retired/depressed rock star, factual or fictional... And indeed, Penn delivers a somewhat convincing performance as (Robert Smith-inspired?) Cheyenne (poor choice of pseudonym, if you ask me, but hey, there's also a band called "The Pieces of Sh*t", so)...

The problem is: that annoying voice!, and... Well, everything else. This is a pretty boring film, overall. Frances wasn't convincing, nor was anybody else besides Sean.

Sure, there are funny parts, but they're not enough to prevent the yawns, or fight the desire of doing something else during most part of it.

My 5/10 is strictly because of Penn's genius, indeed one hell of an actor, but he deserved a better script and a better... Well, everything.

Honorable mention to the David Byrne/Will Oldham teaming up to perform a satisfying soundtrack, especially the main track "Lay & Love", excellent in my opinion.

Is there a role which eludes Sean Penn? In Italian director Paolo Sorrentino's English-language debut following his 2008 Cannes hit 'Il Divo', the two-time Academy Award winner takes on an unlikely comedic role as an over-the-hill pop star named Cheyenne and pulls it off with aplomb. Indeed, even though the movie never does quite come together as a cohesive whole, Penn's brilliant performance more than anchors the entire film, and you'll find yourself hard-pressed to take your eyes off him.

To say that Penn owns the entire movie is not an overstatement- right from the start, Penn mesmerises with a bizarre get-up consisting of a jet-black fright wig and all-black lipstick and eyeliner even in the comfort of his own sprawling home. As is typical of such characters, Cheyenne suffers from depression, and besides doing the groceries while his fireman of a wife (Frances McDormand) is off at work, spends most of his time in the day hanging out with a spunky teen Mary (Eve Hewson) at a café in a shopping mall.

Purpose is what is lacking in his life- haunted by the suicide of two brothers who said they were inspired by his lyrics, Cheyenne has not been able to return to his music since. For the first half hour, Sorrentino familiarises his audience with the idiosyncrasies of his lead character as well as his marriage with his wife Jane, and thanks to an empathetic performance by Penn, your heart will go out to this lost soul searching for that elusive thing called meaning. It is testament to Penn's flawless performance that you'll still feel the warmth and heart behind his character's eccentricities.

Cheyenne awakens from his stupor when he gets news that his father is dying and promptly makes the travel by cruise- because of his fear of flying- to New York. Unfortunately, he arrives too late, missing the very last opportunity to connect with the father he has not spoken to in years. So when his cousin Richard (Liron Levo) informs him that his dad was obsessed with tracking down a Nazi war criminal at Auschwitz named Aloise Lange (Heinz Lieven), Cheyenne takes it upon himself to complete his father's mission.

And so begins a road trip across the United States, each pit-stop in Michigan, New Mexico and finally Utah offering memorable encounters with locals that in their own way serve to give him closure and reconciliation. Mirroring Cheyenne's own inner transformation, Sorrentino adopts a measured pace as Cheyenne meets a history teacher (Joyce Van Patten), a war widow (Kerry Condon), his dad's fellow Nazi hunter Mordecai Midler (Judd Hirsch) and finally of course Lange himself. Less patient viewers will probably be frustrated, but those willing to accept the laid-back tone of the film will find Cheyenne's journey a rather therapeutic one- especially in its closing lesson on the importance of learning to let go of the past.

Sorrentino, who co-wrote the script with Umberto Contrarello, also lightens the mood of the film with some well-placed deadpan humour, delivered with panache by Penn. A scene where Cheyenne meets a gaggle of women in the lift discussing which brand of lipstick is best and finally gives them due advice just to shut them up is sharply hilarious, while his well-meaning attempt at match-making Mary with an earnest shopping mall staff proves sweet and amusing. But through the varying types of humour, it is Penn's unpretentious acting that makes them work- with a recurring gesture of Penn casually blowing a wisp of hair falling across his face perhaps the most consistently delightful narrative device. Among his co-stars, McDormand shines in her role as Cheyenne's wife, and a sequence where she is practising tai-chi in her lawn while distracted by her husband in the upper window one of the best moments in the film.

For rock fans, the participation of David Bryne is no doubt a highlight in itself, and Sorrentino pleases his fans with an extended concert scene that has the rock star performing the title song of the film while a woman in a room that reflects a period setting floats above the crowd. Nonetheless, for us cinephiles, the delight is in watching Sean Penn take on an unlikely comedic role in spite of his dramatic credentials. If it isn't yet apparent, we'll say it again- Penn's flawless performance is good enough reason to visit this place, and it's one that is warm, touching and unexpectedly affecting.

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I'm a DVD man.Films are my most important relaxation methodology. For me, the whole purpose of a film is to transport me into another reality, even a 'factually historic' film does this, for that reality was never subjectively mine. Occasionally a film comes along that is so incredible in it's ability to 'transform my reality' that it becomes embedded not only in my memory but leaves laser-like traces sparkling in my consciousness.

This was such a film for me.

No spoilers here, but some aspects of the photography are amazing,simply beyond surrealistic,more glowingly minimalistic in their utter magnificence. How the hell can you make a supermarket shopping trip into an adventure journey through a time-warped window of photographic beauty? Watch out for the car at the gas station scene. It's a visually structured scene that hit my eyes with astonishment.

The acting is superb.Yet, that word seems so inadequate to describe Sean Penn's utterly mind-blowing performance. I had to keep reminding myself that this was Sean Penn and these continued reminders simply made his performance all the more brilliant.

In the manner of an 'old Master',Paolo Sorrentino places layer after layer of subtle strokes to compose a mesmerizing work. He takes his time about it, as though each stroke of his brush must be precisely executed so that the whole may be that 'other reality' I seek in my film watching.

If you will watch this then you must prepare yourself to surrender totally into ' it's reality'- I found it well worth the capitulation.

I thought this would be a better movie. The premise is quite interesting and I usually like these artsy dramedies. This one on the other hand tries to be more artsy than it really is.

At first I didn't like how Sean Penn portrayed Cheyenne, but later on in the movie I completely forgot that I was watching Mr. Penn. So I guess the performance is good, and maybe I just didn't find the character to be a very interesting or likable.

This movie is slow, and I don't even mind slow movies. Hell I usually think the slower the better, but this just drags forever. The plot doesn't take off until half way thru and even then it feels like you've already watched this movie for hours.

There's an insane amount of camera trickery, almost every scene uses some camera dolly or crane thing, even if it serves no purpose other than moving the camera around in an "imaginative way". It was really distracting and I didn't find the camera work that fun to look at.

The script leaves a lot of stuff untold. There is talk about people who are seemingly important, but they are never explained who they are and while you have ideas, it's not something you'd like to spend any energy guessing. Some movies make these mind games fun, but here they're just annoying. I noticed myself thinking all the time if I had missed something, but reading at the forums here, I don't think I missed anything. This movie just doesn't inspire you to figure out those loose endings at all.

In the end I gather I just don't like the directors way of making movies. The story is quite interesting, but the way it's told just wasn't my cup of tea.