Results Screen 24 articles



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  • Had Bujalski played this scenario for high comedy, it might have caught fire. Instead, he keeps things as low-key and shambolic as he always does, which places demands on Kat and Trevor that his wordy but oddly mundane screenplay fails to meet. In the end, these people and their issues just aren’t that compelling. A few hours later, I’m hard pressed to recall much about them.

  • Bujalski is so focused on satirising America’s healthy-living obsession that any functional romance feels pretty far off the table: some fairly bald third-act manoeuvres, worthy of a lesser George Clooney vehicle, are needed to wake these characters out of their delusional trance. In general, the film’s larger gestures, which feel sketchy and unconvincing by themselves, don’t work nearly as well as its throwaway details.

  • This confusion of focus, first on Danny, then on Trevor, with Kat sort of hovering in between like a dominant but ill-defined idea, largely contributed to Results' overall failure. Since the film lapses as a character study, we're left with the vagaries of the fitness milieu. This implies comedy, but actual comedy is in short supply.

  • Seems Bujalski can write two kinds of characters, those who bullshit and those who cut through the bullshit, and he gets a kick out of having them interact, but it only goes so far. The two guys become repetitive, the girl is poorly defined (she's defined by what she's not - not romantic, not sentimental - but gets very little actual character); I'd rather watch a film about Tishuan Scott as the belligerent "bisexual gigolo".

  • Bujalski, who started out in movies seeming like the love child of John Cassavetes and French director Jean Eustache, has more recently tilted in the direction of Altmanesque group portraiture, and “Results” furthers the trend. It gives off a warmly inviting glow. Once he’s worked through the basic set-up, Bujalski puts the plot on the back burner and lets his characters collide and ricochet off one another with a laconic comic grace.

  • The romantic threads of the film never congeal, but the film is at its best when the nominal cliches collapse from sheer inaction into something more dissolute and harder to identify.

  • Whereas Computer Chess made a playground of its dense field of binary oppositions (win/lose, black/white, 1/0, analogue/digital, male/female, etc.), Results operates amongst a network of more angular relationships; its sets are comprised of three components, with one acting as a pivot point for the other two. It’s a motif embedded into the film’s open, purely utilitarian, fitness-conscious mise en scène.

  • Andrew Bujalski’s entrance into the world of professional actors and state-of-the-art digital cameras happily keeps the distinguishing characteristics of America’s most idiosyncratic lo-fi auteur intact. Results is unmistakably a Bujalski film—the fifth for the 37-year-old filmmaker—but it’s a little bit funnier, a lot prettier, and slightly more adult than the others.

  • Corrigan’s been a personal favorite since an earlier era of indies, and despite sometimes being treated elsewhere as a character on the periphery, here he gives a command performance of marvelous subtlety and comic timing, and not a little pathos. Corrigan’s slow-burn consternation in this film never fails, on par with the greats, and when the story renews itself with a fresh focus on Kat and Trevor, it’s a bit of a letdown, not least because the two actors never seem to mesh.

  • There’s a degree to which Bujalski struggles to open up his offbeat sensibility to a more mainstream indie audience, especially when he has to plot his way out of a corner... But Results also shows the mainstream bending to him, returning to the themes of jealousy and insecurity that were present as early as Funny Ha Ha and Mutual Appreciation while assuming a tone that’s unusually low-key for a romantic comedy.

  • With Bujalski, this is business as usual, but by the standards of the contemporary indie rom-com, it’s refreshingly unpredictable and thoughtful. The writer-director—whose early films, shot on grainy handheld 16 mm, radiated matter-of-fact authenticity—built his reputation in part on teasing rich, funny performances out of non-professional actors, and he does the same here with a cast of pros.

  • This is Bujalski's most accessible film, a simple yet realistically messy relationship drama that boasts the same wry sense of humour as Computer Chess and Beeswax but is tonally at odds with the writer/director's previous work... The pay off might be a touch more conventional than we've come to expect from Bujalski, but it's hard to complain when the script is this good.

  • "Results" is not entirely successful (the two main plots don't quite fit together) but it does have a charm and a style that works. In its own weird way, it is quite romantic, while acknowledging that romance is sometimes unpleasant, always messy, and hooking up with someone represents the beginning of a lifetime of getting into messes and digging oneself out. That quality alone makes "Results" a really refreshing film.

  • Alongside greater narrative signposting and other audience-friendly elements, Bujalski gets to try out new sequences that wouldn’t have fit into previous films — broad, faux-found ineptitude in Trevor’s YouTube self-promos and, following a Rocky reference, an entire montage sequence. Even with a slightly greater glossiness, Results remains recognizably Bujalski, embracing the haphazard collision of the relatably unmoored without letting anybody off the hook.

  • When Bujalski finally disrupts the rhythmic back-and-forth to single out Trevor’s dog waiting in silence as the pair starts talking down the street, it’s one of those playful misdirections that only Bujalski can pull off with such a light touch. Results is remarkably pleasant when it’s finding these strange hiccups within its staged interactions organically; less so when it’s flirting with what a commercially friendly Bujalski movie might look like.

  • "Is this film more interesting than a documentary of the same actors working out?" I would, actually, prefer to watch Frederick Wiseman's GUY PEARCE'S HOME GYM, but that's not really fair because I didn't know that before now. Few films have taken exercise so seriously as a window to the soul; we're talking like a Renoir-level attentiveness and openness to everyone's (equally) silly exertion faces and workout regimens, which are more than routines, they're *rituals*.

  • You’re with it all the way, absorbed in its world and eager to know more about these people and where they’re headed. That might not have worked had the script’s observations not been so on-point, and if Smulders, Pearce, and especially Corrigan hadn’t invested their characters with such life. But with this cast, and such a vivid sense of play, Results manages, in its own subtle, unassuming way, to reinvent the rom-com. It’s enchanting.

  • Results is decidedly not Computer Chess, and — dreamlike bits aside — it boasts its own, very enjoyable stylistic flourishes in Justin Rice’s music and the retro, sideswipe edits. Above all, Results has the kind of genuine emotion that is so desperately absent from the genre: it’s romantic, it’s hilarious, it’s intelligent, it’s reticent and it’s weird. In other words, it’s everything you’d expect from an Andrew Bujalski film.

  • Cobie Smulders is probably the best thing in Results, the latest film (and first digital venture) by Andrew Bujalski (the man who invented the word mumblecore) that abounds in first-rate acting.

  • ...Another engrossing, lightly comic exploration of a few awkward characters that is too original to fit into any particular genre, Andrew Bujalski's latest feature, Results, is a neatly structured story with a thoroughly satisfying happy ending, yet it feels unpredictable and full of possibility.

  • Bujalski's decency as an artist—his respect for every character—is deeply and cumulatively moving, offering a utopia of interconnectivity. Results is the rare romantic comedy that's hopeful without resorting to condescending, deadening platitude, temporarily lending respectability to the phrase "life-affirming."

  • A movie like this feels like a dream challenge for an actor. It lives and dies not sheerly by the writing and the direction of the script, but by the cast’s organic adherence to both. You’re watching acting in which personality seems to determine a character’s fate.

  • Kat is, in effect, an actress who is made to produce, to write, to direct—to create something that goes beyond the scope of her own person—and who can't realize it while working for Trevor but may be able to achieve it only by working _with_ him. Whatever the term "mumblecore" may mean, the films it refers to are mainly marked by an overarching triangle of money, work, and love, and Bujalski's own view of it is distinctively classical, even Hawksian.

  • The actors' performances and Bujalski's direction of them are what really stand out... Smulders is a revelation, playing the awkward leading lady to perfection. Much like the near-empty McMansion that Danny buys with his newfound riches, it's a film that may initially appear to be all presentation with no foundation, but by the end, it's rightly filled with love--and, uh, sorority girls.

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