Sideways

A woman's take on this is probably not the same as a man's. Initially I was put off by Charles Hayden's Church's character crudeness and Giamatti's character's repulsiveness but that changed was I was able to look below the surface. By the end of the movie, I felt very sorry for Church as he was not only dumb and shallow, he was actually so empty that whatever female was before him became a mirror of his need to connect with anything that felt like caring. Church did a fabulous job and was incredibly believable as a has-been wannabe, desperate to hold on to his dream of the kind of good life that is bought by charm and good looks. He is just on the edge or realizing his time is running out and that is a whole lot for this character to absorb as he has never given much to the concept of "thought."

Giammeti is a pitiful, self-absorbed, destructive, depressed alcoholic whose in possession of two "things." He knows a great deal about wine and he has written a book. Nothing else informs him. Yet his performance is so nuanced that we are able to fill in his depth of character and decency primarily through his huge, limpid eyes. What a performance. He should have been nominated for an academy award. This is a role that comes along once-in-a-lifetime for this type of character actor, like Liza in Cabaret.

The women are really nothing more than backdrops or props for the men to expose themselves. Madsen is lovely but you do wonder what on earth she really sees in this man. While he may be redeemable, he is really pretty much a self-absorbed jerk. It is most interesting that this film has been released at the same time as Closer, as they are similar in their exploration of self-absorption. Though Closer explores how destructive its characters are to each other, in the end, Closer is not as intimate and seems more artificial than the sweetly revealing Sideways.

My girlfriend is lucky enough to be on the Screen Actor Guild Awards nominating committee this year, so the promotional DVDs are flowing in, and SIDEWAYS is absolutely the best film we've seen so far. (Kinsey is a close second.) Paul Giamatti should get a nomination for this, and I want people on IMDb to start understanding that when you critique a film, it's not ALL about liking the character-- one IMDBer commenting on this film trashed Sideways because she thought the characters were morally bankrupt, and I challenge all of you to show me a good movie where the main characters aren't! That's how the necessary element of conflict is created in a story!

Can you really only enjoy films where the characters in them are people you'd have over for dinner? OPEN YOUR MINDS! Feature Films are not popularity contests, and as far as I'm concerned, neither are awards competitions. Giamatti steals cash from his mother's bedroom dresser drawer near the beginning of the film. Morally reprehensible? Absolutely! But my heart broke for him when he did it. You could see how much he hated himself in that moment!!! Giamatti's ability to have intensely personal thoughts flash through his eyes like flickering film through a projector, all the while maintaining such beautiful stillness, was for me breathtaking. Giamatti makes you completely suspend your disbelief...he makes you feel like you have ESP!!!

Thomas Hayden Church was hilarious as his ex-college roommate/infantile thirtysomething playboy buddy who can't let go of "his plight." He's a stitch. And I agree with everyone, Virgina Madsen makes you melt in this film. She is scrumptuous. Remember, IMDb moralists,...people who live in glass movie-houses, shouldn't throw popcorn! ~peace

For ninety percent of this film, I couldn't stand either of the major players. One is so self absorbed and pretentious, he made want to throw him out a window. The other has his mind in his pants and while much more likable, is about as vacuous as you can get. So I didn't like it, right? No. I watched it like I was watching a train wreck. These guys got more and more interesting as the film progressed. While I still didn't like them, we could see, especially in Giamatti's case, a person who is heading for redemption. The other has a future full of uncertainty (or is it certainty?) How these guys could be friends is the interesting thing, but they develop a hands off rapport and it seems realistic. There are some wonderfully comic scenes and some real heartbreak. And you know, we've all been there at times. The performances are excellent and once all the hijinks are over, we really buy into these guys.

... but aren't we all, regardless of our wine variety and tastes. Middle aged men make merry and melancholy in a film that makes you smile and yearn to go wine tasting in California.

I had known of Sideways for a long time now. Being the huge film fan that I am, I remember always seeing it get mentioned in many message boards, or websites, or critics' best-of-the-decade lists. It wasn't until now that I saw it, and the reason is because I recently saw Payne's new film The Descendants and I fell in love with it. It wasn't just his simple writing, but his direction, the feel that he gave it. Sideways was another gem, and an even better one.

This could be called a dramedy in many ways, a comedy/drama. There are many films these days getting released that could be labeled in those two genres, and yet Sideways makes it look easier than The Descendants even. What we have here is a brilliant script all around, fully fleshing out these characters. And the investment I had with Giamatti... enormous. I was on this ride with him, I felt his pain, his anger, his awkwardness when confronted with aggravating or tense situations. I found myself telling him things on the screen, and even staying at the edge of my seat in a funny situation he is put in by his friend near the end. Whereas The Descendants lived on it's script through a lot of quiet moments, Sideways blends in simple, subtle moments with really incredible dialogue. The dialogue between the two was the main difference, and yet Sideways is very much of the feeling one is put in.

I want to say the ensemble cast is fantastic. Church really made me question just how much of a friend he was, and yet still made him completely sympathetic and be able to be understood. As for Virginia Madsen... I felt like I was also falling for her like the lead. Some of her scenes, especially the conversations between her and Giammatti, she plays incredibly. She makes you feel the likability of her character, and yet also feel the sensuality and the vulnerability that she is pushing through with her shared desire. She was fantastic. Giamatti is fantastic as the disappointing lead, and although he always seems to play these sort of characters, he knows what to do to make them completely work.

Overall, extremely satisfied with this, and still here is the unique touch of real feeling for the characters that I witnessed in the Descendants. How could I not love this? Payne's film pushes through the screen what can only be described as an incredibly real connection, a connection that I honestly don't witness very often with comedies.