6.9
After 6 years together, Mike's girlfriend leaves him, so he travels to LA to be a star. Six months on, he's still not doing very well— so a few of his friends try to reconnect him to the social scene and hopefully help him forget his failed relationship.
Jon Favreau
Mike Peters
Vince Vaughn
Trent Walker
Ron Livingston
Rob
Patrick Van Horn
Sue
Alex Désert
Charles
Heather Graham
Lorraine
Deena Martin
Christy
Katherine Kendall
Lisa
Brooke Langton
Nikki
Blake Lindsley
Girl with Cigar
Kevin James Kelly
Vegas Dealer
Stephanie Ittleson
Vegas Waitress
Vernon Vaughn
$100 Gambler
Joan Favreau
$5 Winner
Rio Hackford
Skully
Jan Dykstra
Girl at Party
Maddie Corman
Peek-a-boo Girl
Marty & Elayne
Dresden Lounge Act
Sheri Rosenblum
$100 Gambler
Stasea Rosenblum
$100 Gambler
Pamela Shaw
$5 Gambler
Tom Alley
Pit Boss
Reverend Phil Dixon
Lounge Lizard
Ashley M. Rogers
Bartender
Jay Diola
Skully's Crew / Derby Dancer
Nicholas Gagliarducci
Skully's Crew
David Gould
Skully's Crew
Bill Phillips
Skully's Crew
Mansur Hamud
Pink Dot Guy
Ahmed Ahmed
Party Mystery Guy
Eufemia Plimpton
Derby Lady
Melinda Starr
Derby Lady
Samantha Lemole
Dresden Lady
Jessica Buchman
Dresden Lady
Caroline O'Meara
Diner Waitress
Gary Auerbach
Derby Doorman
Brad Halvorson
Derby Doorman
Christopher R. Joyce
Diner Patron
Edward Rissien
Diner Patron
Jenna Rissien
Diner Patron
Mark Smith
Diner Patron
John Abrham
Derby Dancer
Rachel Gallaghan
Derby Dancer
Lisa Guerriero
Derby Dancer
Thomas Hall
Derby Dancer
Damiana Kamishin
Derby Dancer
Curtis Lindersmith
Derby Dancer
Jennifer Lucero
Derby Dancer
Pinki Marsolek
Derby Dancer
Rhonda Martin
Derby Dancer
Martina Migenes
Derby Dancer
Paul Mojica
Derby Dancer
Sam Mollo
Derby Dancer
Jacob Morris
Derby Dancer
Michael Scott
Derby Dancer
Bernard Serrano
Derby Dancer
Rosalind Smith
Derby Dancer
Molly Stern
Derby Dancer
Johnny Walker
Derby Dancer
Lisa Wolstein
Derby Dancer
Stephen Gaghan
Onlooker at Model Party Entrance (uncredited)
Director
Doug Liman
Screenplay
Jon Favreau
April 9, 2024
6
**A film about characters and dialogue, made by men and for (some) men.**
Watching films with a lot of dialogue allows us, sometimes, to find some very good works in terms of the construction of lines and development of characters. In these films, these elements become the essence that justifies their existence. And we can think of several examples, such as “Before Sunrise”. This film isn't bad either, but it targets a niche audience that I don't find myself in: single men, somewhat bitter and dissatisfied, misogynists and womanizers. I am single, and I feel peacefully satisfied, without a hint of misogyny and never closing doors to love, but also without any despair. And in fact, I haven't set foot in a bar since my college days. As you can see, I'm not the kind of man who could identify with these characters.
The plot revolves around three friends, aspiring actors, who seek to make it in challenging Los Angeles. One of them is depressed due to the end of a long-term relationship, and the other two friends decide to take him to bars, to drink and flirt as much as possible. From drink to drink, from one flirtation to another, the conversation between the various characters reveal a lot about themselves, and the way they see the world. It's not a narrative film, it doesn't have a very solid story, but it has good characters and an excellent collection of dialogues.
Directed by Doug Liman, the film has simple, but effective and credible cinematography, sets and costumes. Being an independent film, made outside the multimillion-dollar studios, the production had several budget problems that forced practical and functional choices. This may have been positive, allowing for greater verisimilitude and the choice of realistic locations and situations. Being a film so focused on the male mentality, and a world of bars and flirting, it is likely that the female audience would prefer to see something else.
Screenwriter and actor John Favreau plays the main character, supported by two longtime friends, Vince Vaughn and Ron Livingstone. Each of them does a good job and explores their character very well, expressing a lot of themselves, which turns these characters into “alter egos” of the actors who play them. This is unusual in cinema, but not unheard of. The film also features the participation of other actors and friends of those involved, in smaller and less well-crafted characters.
Status:
Released
Original Language:
English
Budget:
$200,000.00
Revenue:
$4,505,922.00