TomSawyer-2112

Why do romantic movies have to be so childish? Is it some kind of prerequisite to make it through them? Probably, since it took me five separate sessions to finish this one, lol.

The way Paris is portrayed is pure fantasy - nothing like the real thing. The "Paris" in the film is all sunshine and charm, while the real Paris is usually cloudy, rainy, and suffocating when it's hot. The air isn't "refreshing," it's stale and full of exhaust fumes. The traffic is hell, and the people aren't strolling around smiling and chatting in English - they're stressed, in a hurry, and nine times out of ten, they don't speak a word of English. Yet in the movie, apparently everyone does. Awkward.

Bethany Joy Lenz does a solid job - her energy carries a lot, even if her giant movie-star smile with those regenerated Hollywood teeth is a bit much. Stanley Weber nails the French mannerisms as the cheesemaker, but the rest of the cast... especially Ben Wiggins - wildly inconsistent. Sometimes convincing, mostly stiff and unnatural. Some day to day dialogues are shallow, the kind that could've come alive with a little depth, but instead just floats around uselessly. The director only had eyes for the romance, he clearly didn't bother to capture any real French spontaneity. "Un travail bâclé," as the French would say - a sloppy job.

Still, there's one redeeming aspect: the theme of starting a new life in another country. That part rings true and carries surprisingly interesting psychological and symbolic undertones - the real genuine aspects to make this movie watchable.

This movie has a lot in common with the excellent The Gorge and The Occupant: the male/female relationship, the crash, the survival struggle, and the search.

It really started off on the wrong foot though. Noise of vibrating engines in space? Come on - still no astrophysicist consulted? Then the passengers are in hibernation while the ship crawls through an asteroid field lined up like bowling pins. Anyone who's asked an expert knows asteroids in the Kuiper Belt are ridiculously far apart. And why were they even sleeping? The ship was moving painfully slow... maybe to dodge rocks, but let's be real: the energy wasted braking and then accelerating again for a ship that size makes no sense in terms of "taking a short cut".

Then humour kicks in - lots of it, visual and verbal, and refreshingly original. That shift allowed me to forgive the initial clichés and see them as intentional ridicules.

I particularly enjoyed the dynamic with the AI, maybe because I've been playing around myself with different chat AIs, pushing them into absurd corners.

The visual effects are excellent, the action is strong. What grated was the endless, mindless chatter of the female voice in his headset - a bit too much of modern teenage communication, and something I'd already found overdone in The Occupant.

The actors do their job well enough. Not in the same league as Miles Teller or Anya Taylor-Joy, but decent.

Overall, I enjoyed it. I never looked at my watch, and I left the theatre with a pleasant feeling.

For those who enjoyed "The Gorge", even if Long Distance does not have its depth, its an equivalent refreshing entertainment.

I gave both a 7, maybe I should give "The Gorge" an 8 rather than downgrading Long distance.

The film is professionally made, with a few standout scenes featuring original dialogue.

Robert De Niro plays both roles: two young mobster friends who share similar views on making a living as Italian immigrants. Over time, their paths diverge. This dual casting seems to be a creative attempt to highlight the contrast between their personality shifts-Frank Costello becomes measured and diplomatic, Vito Genovese remains aggressive and unyielding.

The film contrasts how one man adapts to life in a new country, while the other-after spending seven years back in Italy-remains stuck in his old ways. It suggests that while aggressive tactics may bring fast success, lasting power comes from adaptability and diplomacy.

But what is the underlying message? Are violent immigrants somehow softened or reformed by American society? Is Italy being portrayed simply as a nation of mafiosi? That feels unfair. My own ancestors were Italian immigrants-honest, hardworking people who took pride in their skills and integrity.

Is the film subtly commenting on modern immigration policy? A critique of hardline views like Trump's-implying that forcing people out only hardens them further when they return ?

Regardless, the movie is worth watching. What isn't, unfortunately, is De Niro's double role. Not because of the makeup-but because his signature presence is too strong. His body language, expressions, the way he moves shines through the face make up and the camera setups.

It all feels unmistakably like De Niro, no matter the character.

If there's one takeaway, it might be the long-standing critique: that De Niro often plays a version of himself. Despite his legendary status since Taxi Driver, one can argue he's been somewhat overrated-especially when it comes to his range of playing a wide variety of roles with different personalities, emotions, and styles.

His ego limits his ability to completely disappear into very different characters.