Seriously, just look at Michelle Williams in these photos. What the hell. I\’m her dressed like a 5 year old, and a guy in capri pants. I already do not buy these characters as anything resembling real people.

An aside re: \”Sharkman, whoa, meds, calm down.\”
Was this whole episode censored because of sharkman\’s insulting fu to Cory\’s rebuttal opinion or because it contained the word hipster? I ask because I posted sometime ago a comment regarding Freaky Deaky containing that word to find it gone as well. If hipster is for some reason a banned word on here (like they say you can\’t use the word Netflix in a Netflix review…go figure), please advise…or I guess I\’ll just see if this gets deleted.

I quite liked it (POSSIBLE SPOILER: so long as I can believe that the latter part of the film was imagined and not real), and thought Polley took what could be a simple rom-com premise (woman must choose between safe husband or exciting neighbor) and turned it into a complex, contemporary drama.

While some of the metaphors were blatantly obvious (Margot\’s fear of \”missed connections\”), others were well illustrated (the amusement park ride, the shower scene with the older ladies).

Toronto never looked more beautiful, and the soundtrack was quite suitable (loved the use of Video Killed the Radio Star). Michelle Williams was wonderful, Luke Kirby charming, but I found Seth Rogan slightly miscast (perhaps a less-well known actor would have been better).

I read the script about a year ago and absolutely fell in love with Margo. Not because she was loveable, no, but because she was broken and you have the irrepressible need to fix her, to scream, \”no!\” at every second, but at the same time you feel as if all that you see is none of your business.

The utter sexuality that oozes out of those early scenes is so much more tense than any other turn the story could\’ve taken. The set-up is rather broad, but the tension that builds is well worth the silly coincidences in the script.

I really like that the music is such a stand-out player in the film, as Polley maps out all the music she plans to use in the screenplay, and it all fits in in quite unsubtle, but rather beautiful ways, especially the title track. That montage is something I cannot wait to behold.

Something I am sad to see though is that Sarah Silverman\’s character is small in the screenplay, but scene stealing a la a role like, say, Dale Dickey in Winter\’s Bone. I was really betting on her grabbing an Independent Spirit Award nod this year. There\’s a particular monologue at the end that really enforces the theme much better than the connections line you stated that I just read over and over again.