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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Sundance Review: Celeste and Jesse Forever

If you were hoping for Celeste and Jesse Forever, one of the most buzzed about titles going into Sundance this year, to be this year’s Like Crazy, you’re in luck. Beautifully written by Will McCormack and Rashida Jones (the writing debut for both actors), deftly directed by Lee Toland Krieger (The Vicious Kind), and effortlessly acted by Jones and Andy Samberg in the lead roles, Celeste and Jesse Forever is exactly the kind of gem you have to think buyers at Sundance will be salivating over. It’s charming, it’s touching, and it’s very accessible to a mainstream audience.

The film explores what happens when Celeste and Jesse (Jones and Samberg), who seem on the surface to be the perfect couple, decide to amicably divorce. All goes pretty well at first, so long as Jesse’s living in his artist’s studio behind the house and the pair are still hanging out every day. After all, they’re best friends, so why should they have to give that up just because they’re splitting up? Sure, their friends think it’s weird, but they’re doing them a favor, too, by not making them choose between them. What could possibly go wrong?

With a lesser script, this would play out in all kinds of lame cliches that would have had me inwardly groaning, but the arcs of both characters are so remarkably imagined and well-drawn that everything about Celeste and Jesse’s relationship felt very real – painfully real – to me. Having gone through a relatively amicable divorce and then the whole process of moving on into other relationships with my children’s father in the past couple years, there are certainly things about my personal life that I brought into watching this film play out. For me, the writing of the character of Celeste – this driven, in-control, strong woman who has to be “right” all the time, who fails to see and nurture the positive things about her relationship with Jesse until it’s too late to go back and fix what’s broken, was wrenching and real. I’ll say this: After the screening, there were lots of weepy-eyed, sniffly women in the rest room talking about how true this film felt to them.

I think of both Jones and Samberg more as comedic actors, and they certainly bring a level of playfulness to their respective roles that’s particularly effective in making the close friendship of these characters feel absolutely believable. But this script requires both actors to bring their dramatic chops as well, and they deliver on that front too. The supporting performances, particularly by Ari Graynor and Eric Christian Olsen as an engaged couple who are Celeste and Jesse’s best friends and McCormack as a likable pot dealer bemoaning the impact of medical marijuana on the economy of his drug dealing business, are also solid. Emma Roberts turns up as a flavor-of-the-month pop star who Celeste despises on principle but has to work with when her branding company takes her on as a client. There’s nothing at all wrong with Roberts’ performance here, and I’m delighted to see her in a project like this, but from a story standpoint this, for me, was a bit of a weak spot in terms of whether it really needed to be there. It’s a fairly harmless diversion, plot-wise, but it’s not what I’d consider an essential element of the storytelling. But that’s a small quibble for what’s overall quite an excellent film.

This is a very different kind of film than Krieger’s previous Sundance effort, The Vicious Kind (a film I still feel was vastly under-appreciated in its intelligence, depth and complexity). Nonetheless, you can see his particular style of storytelling in both films, in the way he has of getting his actors to dig under their skins and really find who these people are, and bringing them to life in a way that’s relatable. This is a superb job of direction. I do think there are a few places here and there where the film could still use a little tightening and tweaking (Krieger said in the intro that they just finished it a week-and-a-half ago), but there’s plenty of time to smooth out those few bumps before release if the film gets distribution – and I’d be surprised it if doesn’t. This one’s a winner.

One Response to “Sundance Review: Celeste and Jesse Forever”

  1. phil says:

    does anyone know if they get get back together…?

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“I suddenly couldn’t say anything about some of the movies. They were just so terrible, and I’d already written about so many terrible movies. I love writing about movies when I can discover something in them – when I can get something out of them that I can share with people. The week I quit, I hadn’t planned on it. But I wrote up a couple of movies, and I read what I’d written, and it was just incredibly depressing. I thought, I’ve got nothing to share from this. One of them was of that movie with Woody Allen and Bette Midler, Scenes From a Mall. I couldn’t write another bad review of Bette Midler. I thought she was so brilliant, and when I saw her in that terrible production of ‘Gypsy’ on television, my heart sank. And I’d already panned her in Beaches. How can you go on panning people in picture after picture when you know they were great just a few years before? You have so much emotional investment in praising people that when you have to pan the same people a few years later, it tears your spirits apart.”
~ Pauline Kael On Quitting

“My father was a Jerome. My daughter’s middle name is Jerome. But my most vexing and vexed relationship with a Jerome was with Jerome Levitch, the subject of my first book under his stage and screen name, Jerry Lewis.

I have a lot of strong and complex feelings about the man, who passed away today in Las Vegas at age 91. Suffice to say he was a brilliant talent, an immense humanitarian, a difficult boss/interview, and a quixotic sort of genius, as often inspired as insipid, as often tender as caustic.

I wrote all about it in my 1996 book, “King of Comedy,” which is available on Kindle. With all due humility, it’s kinda definitive — the good and the bad — even though it’s two decades old. My favorite review, and one I begged St. Martin’s (unsuccessfully) to put on the paperback jacket, came from “Screw” magazine, which called it “A remarkably fair portrait of a great American asshole.”

Jerry and I met twice while I was working on the book and spoke/wrote to each other perhaps a dozen times. Like many of his relationships with the press and his partners/subordinates, it ended badly, with Jerry hollering profanities at me in the cabin of his yacht in San Diego. I wrote about it in the epilogue to my book, and over the years I’ve had the scene quoted back to me by Steve Martin, Harry Shearer, Paul Provenza and Penn Jillette. Tom Hanks once told me that he had a dinner with Paul Reiser and Martin Short at which Short spent the night imitating Jerry throwing me off the boat.

Jerry was a lot of things: father, husband, chum, businessman, philanthropist, artist, innovator, clown, tyrant. He was at various times in his life the highest-ever-paid performer on TV, in movies, and on Broadway. He raised BILLIONS for charity, invented filmmaking techniques, made perhaps a dozen classic comedies, turned in a terrific dramatic performance in Martin Scorsese’s “The King of Comedy,” and left the world altered and even enhanced with his time and his work in it.

That’s an estimable achievement and one worth pausing to commemorate.

#RIP to Le Roi du Crazy

~ Biographer Shawn Levy on Jerry Lewis on Facebook