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It is now 40 years since the first performances of David Mamet’s “Sexual Perversity in Chicago” and almost 30 since the play was made into a movie, starring Rob Lowe and Demi Moore and directed by Edward Zwick, called “About Last Night ... .” Some things have changed (Mr. Mamet has evolved into a dyspeptic right-winger) and some have not (Mr. Lowe and Ms. Moore are still very good looking), but all in all, the thing holds up pretty well.
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Mr. Mamet’s title was always a bit of a misnomer — his jagged play is more interested in romantic confusion and emotional complication than in freaky bedroom matters — but his map of the crooked paths to heterosexual bliss remains useful and adaptable, even when softened and tidied up by Hollywood. The proof is in the new “About Last Night,” a sweet, silly, semi-raunchy Valentine’s Day confection directed by Steve Pink (“Hot Tub Time Machine”).Mr. Mamet’s perverts were blue-collar white Chicagoans, upscaled a bit by Mr. Zwick in the yuppie era and now reimagined as middle-class African-American residents of Los Angeles. Race is never an explicit theme in the movie, which you could interpret as tactful or utopian, but, in any case, the emphasis is on the comic difficulties faced by two couples, one sensitive and well behaved, the other outrageously naughty.
The second pair, Bernie and Joan, are played by Kevin Hart and Regina Hall, and it is largely thanks to them that “About Last Night,” which might have been a pleasant and forgettable date movie, is very often a raucous good time. The revised script is credited to Tim Kazurinsky and Denise DeClue, but many of the funniest parts seem to arise spontaneously from Mr. Hart’s uncensored brain and fast-moving mouth. He can swerve from tears to mock outrage to anatomically detailed obscenities faster than just about any other comic performer working today, and in Ms. Hall he has found an excellent match. Watching the two of them hurl insults at each other is like witnessing verbal Muay Thai.
The energy between Bernie and Joan is mostly physical, though. Their drunken hookup foreshadows the meeting of Danny (Michael Ealy) and Debbie (Joy Bryant), who are dragged along on Joan and Bernie’s first official date. Debbie is Joan’s roommate, while Danny works with Bernie at a restaurant-supply company,(Download About Last Night) and the new acquaintances sit quietly, sipping drinks while the other two get sloppy and stumble off to the restroom for a quickie. Danny and Debbie end up doing the same thing, but in the more decorous setting of Danny’s bedroom, with the usual soft lighting and gentle sighing of tasteful big-screen lovemaking.Bernie and Joan’s intimate moments involve a lot of noise, a slap or two, a dentist’s chair and a chicken mask — not all at once, but you get the idea. Debbie and Danny favor bubble baths, candles and Champagne. They also follow a more conventional relationship trajectory, starting out casually and then following the route from dating to cohabitation to pet adoption and beyond.
At times, it feels as if they are following instructions rather than acting out of genuine emotion. Danny resists commitment, but it seems to be because he thinks guys are supposed to do that, and Debbie’s desire for domesticity seems similarly abstract. Ms. Bryant and Mr. Ealy are both warm, appealing actors, afflicted here less by an absence of chemistry than by thinly imagined circumstances.(Download About Last Night) We learn a little bit about his job, less about hers and almost nothing about their families or interests. And there is not quite enough between them to fill in the blanks.Still, the ups and downs of their affair aren’t entirely lacking in credibility. They are so eager to be nice to each other, and to avoid conflict, that as the initial intensity of their connection starts to cool, there is nothing to replace it. They love each other but can’t figure out what to do about it.
This is sad, and sometimes a bit dull, even when Paula Patton briefly shows up as Danny’s toxic ex, Alison. You might say that Bernie and Joan are around to supply clownish distraction from the travails of their pals, but “About Last Night” might actually work the other way around. The volatile, passionate,(Download About Last Night) off-again-on-again Bernie-Joan situation may look like a train wreck, but it is really a corrective to the safe, sober and emotionally dishonest ways that Debbie and Danny behave together. Near the end, Bernie and Joan congratulate themselves on their honesty and sigh about how “dumb” the others are. It’s only funny because it’s true.The 1986 film “About Last Night” is remembered as much for its lead couple’s best friends/sounding boards (a boorish Jim Belushi and a prickly Elizabeth Perkins) as for the couple (Rob Lowe and Demi Moore).
The makers of the raucous remake clearly recognized those sidekicks’ value. They have seized on this aspect of the story, casting box-office-golden Kevin Hart (“Ride Along,” “Think Like a Man”) as wing man and Regina Hall (“The Best Man Holiday”), who is the electric Hart’s match in comic timing,(Download About Last Night) as wing woman.In the new “About,” sidekicks Bernie and Joan are not just antagonists, as in the original, but antagonists who have wild sex with each other. Their hate-myself-for-loving-you sparks create surprisingly consistent comedy given the thin premise of such a bond.Hart and Hall (also from 2012’s “Think Like a Man”) appear energized by each other. Many of their riffs feel improvised. Yet these exchanges remain tight, not self-indulgent.
And unlike in the first film, drawn from male-centric writer David Mamet’s play “Sexual Perversity in Chicago,” Joan is not a sad sack. Bernie and Joan are equally and believably enthusiastic in verbally and physically expressing their prodigious libidos.Director Steve Pink (“Hot Tub Time Machine”) and screenwriter Leslye Headland,(Download About Last Night) adapting the 1986 film’s screenplay, devote so much of the first half hour to Bernie and Joan that it seems the movie might back-burner their beautiful friends Danny and Debbie (Michael Ealy and Joy Bryant). Danny and Debbie meet through Joan and Bernie this time, not the other way around.Alas, Danny’s and Debbie’s budding, fitful romance will consume at least half of the film, even though they are a quarter as interesting as Joan and Bernie.
Some of it comes down to Ealy’s and Bryant’s ages. The 1986 film followed Danny’s and Debbie’s one-night stand, which turned into a relationship that challenged its young couple’s ability to navigate disagreements and cohabitation. That it did so with sexual frankness and also gave equal weight to the female and male perspectives (via Danny’s and Debbie’s consults with the sidekicks)(Download About Last Night) made the film unusual for its time.This rather simple story still hinges on the actors playing neophytes at relationships actually looking like neophytes. Lowe and Moore were in their early 20s, so the setup worked then.But Ealy (also from “Think”) is 40 and Bryant (TV’s “Parenthood”) is 39. So their characters’ worries about what it means for one person in the relationship to have said “I love you” before the other comes off less as new-relationship jitters than arrested development.
It might be different had the remake adjusted more to suit its actors’ ages. Were this Danny’s and Debbie’s hesitations about relationships based on bad experiences, it would be more understandable.“About” makes an attempt, but a weak one, by presenting Danny as hampered by a past relationship with a controlling woman. But the ex (Paula Patton) is such as ridiculous figure that you can’t believe she controlled anyone.(Download About Last Night) Danny’s and Debbie’s back stories were better developed in the original. Debbie’s pre-Danny affair with her married boss seemed seedy and self-esteem-crushing. Here that relationship is glossed over.Bryant is lovely and natural on screen, but her character is a cipher. The most interesting thing about her is Joan is her best friend.
The camera loves Ealy, but he grimaces so much it’s hard to discern when Danny is happy and when he’s not.Hart is only 34, and Hall 43, but they look like contemporaries. The remake’s character age advancements succeed with Joan and Bernie because this pair developed their passionate, if sometimes misguided,(Download About Last Night) views on life and love from having done some real living.“About” stands out among the three 1980s remakes out this week – “RoboCop” and “Endless Love” are the others – for recasting the original’s four white leads with African American actors. But there’s no particular cultural bent to this film, a retelling of the color-blind story of navigating romance.
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Remaking the film with this cast, especially the on-fire Hart, was smart in targeting the same audiences who came out for the glossy romantic comedies “Think” (much of whose cast appears here) and “Best Man’s Holiday.” And there’s just enough existing fondness for the first “About” to give this remake more cachet than a new story with the same cast.The remake moves the story from Chicago to Los Angeles without losing much. Director Pink prefers downtown nighttime cityscapes to sun and palm trees. Most scenes take place indoors, in bars or in Danny’s well-appointed loft.(Download About Last Night) But a subplot involving Danny, who works for a restaurant supply business and an Irish pub, would have fit better in Chicago. The City of Angels is not known for Irish pubs.Headland has retained some of Mamet’s chewy dialogue while omitting its more stilted lines. Hart handles his reams of dialogue like a pro, though it’s hard to tell the Mametian from the Hartian, apart from guessing that the funniest lines likely were improvised by Hart.
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