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Even in a rambling romantic dramedy like Jesse Peretz’s “Juliet, Naked,” Rose Byrne is a joy to watch, and her performance is a highlight of the film. The character Annie, who lives in a sleepy coastal town in the United Kingdom with a free-loving sister, a dead-end job, and a deadbeat boyfriend, manages to remain undefeated despite her adversity. She holds out hope against all odds that something in her life will bring about a change in her tedium. It’s possible that she’s been thinking about having those children a lot lately. Annie comes to the realization that if she wants things to change, she will have to take the initiative and make them happen.
A large part of the appeal of “Juliet, Naked” would be lost if it weren’t for Byrne’s endearingly optimistic performance. Her relationship with Duncan (Chris O’Dowd), her long-term boyfriend, is one of dreary complacency. My nerves were quickly frayed as I watched him scold her for not liking what he liked (a musician named Tucker Crowe), ignoring what she said, or pursuing a co-worker because she preferred his music to Annie’s. It was painful to witness his arrogance in his careless actions, and it was even more painful to witness his petulant entitlement lord over Annie. If Annie had been a friend of ours, we might have staged an intervention to get her away from such a jerk like this.
The unexpected appearance of Tucker Crowe (Ethan Hawke), the mysterious singer-songwriter Duncan is obsessed with, comes at a crucial point in the film, just as the audience is being pushed to root against Duncan. The artist, on the other hand, does not feel a connection with his superfan. As a substitute, he communicates with Annie, one of his online critics who has criticized one of his acoustic bootlegs titled “Juliet, Naked.” Their email exchange becomes increasingly in-depth and intimate, and he eventually arranges to meet with her. He, on the other hand, is a different kind of personal disaster—a man who has several children from various women and wives and who lives in a barn behind an ex-house. girlfriend’s Through voiceover, Annie muses on the responsibilities of being a single mother, and she sees a common ground between the two men in her life.
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When Annie is deciding whether or not to take a chance on a down-and-out American musician or whether or not to return to her droll partner, who may have finally listened to her about the whole having kids thing, there are some exciting moments. Peretz’s film, which is based on Nick Hornby’s novel of the same name, has its heartfelt moments, but it is not without its flaws. One particularly memorable scene takes place during a spirited dinnertime debate between Duncan, who professes his admiration for Tucker’s work, and Tucker, who is dismissive of almost any form of praise or recognition. It turns into a debate about what artists mean to their fans and how art belongs to the fans rather than the artists themselves. Because of Duncan’s temper, the discussion is cut short, and the moment feels like it has been cheated out of what it was trying to explore in order to take a dramatic shortcut.
Juliet Naked Quiz
Duncan’s macho one-upmanship against Tucker is one of the aspects of the story that feels overly familiar. It’s exhausting, as you might expect. The tangled web of Duncan and Tucker’s lives threatens to suffocate Annie’s life, and by extension, the rest of the audience as well. Duncan talks over her without a hint of irony in more than one scene, and while it’s played as a joke, it comes across as more accurate than farcical in its accuracy. We see Annie’s annoyance growing along the edges of her face, and we become enraged for her. It’s in scenes like this that we feel as though the movie is pushing our emotions in a certain direction too forcefully, even when we don’t want to be pushed in that direction.
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Overall, Byrne turns in another solid performance, Hawke gets a raggedy character role, and O’Dowd gets the chance to play awful boyfriend material, but there’s not much to fall in love with in the awkwardly titled “Juliet,” Naked. The story’s predictable arc doesn’t leave much room for the imagination, and we might find ourselves hoping for change just to shake things up in this stale plot, as Annie did in the film.
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