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Amy Adams recommended Paulie (1998) in Movies (curated)

 
Paulie (1998)
Paulie (1998)
1998 | Action, Comedy, Drama
8.6 (5 Ratings)
Movie Favorite

"If I put Casablanca on I’ll sound like AFI, right? [laughs] Here’s the thing: there are all the choices you can make that you know sound really good and then there’re the ones that you really watch, like a hundred times. Like Paulie, the film with the parrot — but if I put that on my list I’m gonna look like an idiot. [laughs] You must see Paulie! I know you think I’m crazy. I love Paulie. I have these films that my younger brother’s like, “Amy, you’re gonna love this — you have to watch this film.” He introduced me to Paulie. There’s a whole bunch of people in Paulie: there’s Gena Rowlands, Jay Mohr, Cheech; the guy from Monk, Tony Shalhoub, who’s one of my favorites. It’s such a touching story. I hope I haven’t built it up too much. [laughs]"

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S1m0ne (2002)
S1m0ne (2002)
2002 | Drama, Sci-Fi
The trifecta of flatness: a comedy with next to no laughs, a satire with no bite, and a drama without sufficient emotion. Yet another technophobic dud that fires on zero cylinders and has nothing to say - try to picture if 𝘏𝘦𝘳 was one of the (many) shittier "Black Mirror" episodes. Besides Rachel Roberts' perfectly realized, fittingly mysterious performance (which, of course, is underused) nothing else shines through here - has zero depth beyond a few performative quips and has that rush-through-everything-of-any-importance pacing + structure that I detest. Here we have what could have been a poignantly interesting film about a disenchanted director whose only authentic relationship is with a synthetic A.I. as well as a boiling satire about the state of celebrity, the objectification of women in entertainment, technology, etc. But instead we're left with such a rote, surface-level, come-and-go boilerplate narrative about this thinly-written 'failed director' trope having to hide an obviously fake woman from every idiot on the planet. Skimps out on where it counts, the brief spoof arthouse movies in these are more intelligent and watchable than the actual movie - which ironically feels as insincere and fakey as its central character. Also I miss Jay Mohr.