Listen Up Philip is a messy character-driven piece in which, oddly enough, the narration is the best part of the film. This is not a film for everyone. The two male leads are pretentious fools that, despite all of their knowledge, lack any true wisdom and consistently make terrible choices. By the end, it's difficult to even feel any pity for them. The female characters, on the other hand, are the saving grace of the story and the actresses are terrific in their roles.It's far from a typical storyline. Even with the narration, it's hard to say what the plot is, if there is one at all. The film has us enter and exit these characters lives at their most sad, desperate and difficult. Some will find it to be an insightful dark comedy while others will find it to be a pointless, drab drama that is frustrating to watch. The most bothersome aspect is the unsteady hand-held camera work, which comes and goes needlessly.Listen Up Philip is like only reading the middle chapters of a novel. Fans of Noah Baumbach, Wes Anderson and Woody Allen's films may find a lot to enjoy here but if you're not a fan of character studies, this won't be for you.

Review: This film is awful! The storyline is all over the place and I totally lost interest after a while. I think that it's about a novelist who is due to bring out his second book. After the success of his first novel, his ego is boosted to a point were he is rude to people, including his girlfriend who is also a established photographer. I understood the movie up to that point but the director took the plot down many avenues which became confusing. I ended up falling asleep a few times because I was completely bored and I hated the way that the movie was shot. You've got this annoying jazz music throughout the film and the narrating just brought more confusion to the whole project. I would have been able to put up with tone and pace of the film if it was slightly funny but I really didn't find it amusing at all. At the end of the day, it really has to go down as a bad day at the office for Jonathan Pryce and Jason Schwartzman, who usually make good movies but this one was really boring and a total disappointment. Rubbish!Round-Up: I can't believe that I wasted 2 hours of my life on this poor movie. The movie was directed by Alex Ross Perry who brought you Impolex, The Color Wheel, The Sixth Year and Queen of Faith, which I have never heard of before. I wasn't that impressed with his style of direction or the grainy camera-work which became annoying after a while. The acting wasn't bad from Schwartzman, who was great in Saving Mr. Banks and Darjeeling Unlimited but this film was a terrible choice. I'm sure that the director has quite a few fans of his work because he does have a unique style, but I really struggled with it. Jonathan Pryce, who recently joined the Game Of Thrones series, was a complete waste in this film but he obviously found something interesting in the script to take on the project. Anyway, I think you can tell that I really didn't enjoy this movie so I will stop putting it down.I recommend this movie to people who are into their comedy/dramas about a novelist who seeks inspiration from another author, to bring out his second novel. 1/10

Philip (Jason Schwartzman) is a mean-spirited, pompous writer, waiting the publication of his second novel so he can rub it in the faces of those like his ex-girlfriend, who either allegedly held him back or doubted his abilities. He is a miserable soul, with a quick ability to insult or belittle someone and never taking anyone's advice or ideas seriously. His relationship with his current girlfriend Ashley (Elisabeth Moss) is a shaky one, at that, with Ashley growing tired of Philip's morose qualities and his selfish ability to drop everything in his life, putting her life on hold, and taking different opportunities without even so much as mentioning them to her before his mind is made up. One day, one of Philip's greatest influences, Ike Zimmerman (Jonathan Pryce), one of the most prolific American authors of the 1970's, invites him to stay at his summer home with his daughter Melanie (Krysten Ritter), where he can hopefully find some tranquility in his life outside of all the mean-spiritedness that has long plagued him. But of course, Ike is just as bitter and cynical as Philip, so the two have their own kind of funny being bitter and cynical together, as Philip takes a low-rent job at a local liberal arts college teaching a creative writing seminar.Alex Ross Perry's Listen Up Philip is a special film because it profiles a disgustingly mean character in such a way that doesn't derail the quality of the film nor make it an insufferable idea. To make a film centered around a soul who is simultaneously unhappy and absolutely contemptible is one of the hardest things in a dramatic film, in my opinion, because while you're depicting such an angry character you need to give audiences reasons to care or intriguing insights to appreciate. Perry does both, offering a look at a soul who has adopted a morose attitude by choice, and someone who wants to be known solely for his writing and not the kind of person he is in real life.Jason Schwartzman is the ideal actor for Philip, as Schwartzman occupies a great sense of self-awareness as a performer. He can play a character who knows damn well he's being a smug, narcissistic snob yet almost leads you to believe he doesn't know he's being offensive or manipulative. Schwartzman's charm also lies in his ability to deadpan perfectly, capturing Perry's dry humor quite effectively. Perry also recognizes his supporting characters in a pleasantly different manner, as well, giving them several minutes at a time to grow from empty supporting characters to detailed ones, profiling both Ashley and Ike in their own separate sections of the film. During these sections, Perry shows how both characters are affected by Philip before and after he enters his life, and all of the emotions and feelings are handled nicely through the use of narration by Eric Bogosian, who does a nice job at adding the intellectual layer of thought to the film's premise.As a writer, a lot of Philip's bitterness, for me, serves as the unconscious part of me that I won't allow be seen by others. The frustration, aggravation, and the heartbreak that brews as a result of exhaustion and dissatisfaction with the way you see other people either completely clueless or disinterested in general. Philip's unnerving attitude is by choice, however, and his active ostracizing of anyone who dare attempts to get close to him shows an insecurity of his own that makes for an interesting profile of a writer. Perry dares show that writers, while often provocative individuals who get us to contemplate a deeper side of life, can also be thoroughly incorrigible souls that can hurt those who try to get close to them or even are forced into having some sort of close relationship with them.Some of the funniest and truest insights of the film come during the discussions Philip and Ike have, particularly when conversations drift and rift towards the idea of women. In one scene, the two men are walking along a college campus, with Philip admiring the beautiful, young women that litter the quad; "don't pay any mind to the attractive women over there; they want more than you're willing to give," Ike says in a statement of other truth. In another scene, when Philip is actively engaging in a bout of self-deprecation, as all good writers should, Ike calmly surmises, "Don't make yourself more miserable than you already are, that's what the women we love are for," in another statement of complete honesty. These kinds of insights make Listen Up Philip a film to recommend, as they offer the itemized thoughts and musings or writers in a way that allows viewers to penetrate the minds of one of the most perplexing subcultures.Alex Ross Perry functions in the mumblecore subgenre of films, not necessarily in look, budget, and aesthetic practice, but in tone and focus, centering on troubled characters who can't stop talking and dialog heavily bent on naturalism. Listen Up Philip, for being a film about a vicious, mean-spirited character, manages to be a thoughtful exercise in profiling the conscious and mentality of writers.Starring: Jason Schwartzman, Elisabeth Moss, Jonathan Pryce, and Krysten Ritter. Directed by: Alex Ross Perry. Site Notes:

Electronically speaking, consider this film as a faulty, analogous low pass filter which should ideally pass all lower frequencies in a system and attenuate everything above a specific cut-off point, but in actuality doesn't attenuate any. The filter here is the central character Philip (Jason Schwartzman), the low frequencies are the witty dialogs, humor, Elisabeth Moss, & creative writing niceties, while the higher frequencies (which should have been done away with) are the blown-off storyline, shaky camera work, pretentious drama, & half-baked supporting characters.Telling a story of a two-book old grim writer, the film takes you on an incessant expedition with him while he follows his path to find wisdom & peace, yet produces ounces of snobbery wherever he goes. He is then mentored by another snob (played well by Pryce) who is a pretentious writer reminding us of Shaw or Hemingway, in ways. In the end, they advice each other so abundantly that without having pressed the button, they self-destruct. Amateur director Alex Perry uses cliché to perhaps celebrate his rookieness. It is evident from the first scene that he is a good writer of dialogs, which remains the best compared to any of the films I have seen in months. But, it is in the second half that you realize that the story doesn't move an inch forward with only dialogs as its fuel. It requires substance, and that is what the film lacks.BOTTOM LINE: Alex Perry's fourth feature is a cloudy attempt at a story that fictionalizes the last thing that should be fictionalized, which is "writerhood." (for lack of a better word). Pleasure yourself with those conversations, for they are amazingly quotable.Can be watched with a typical Indian family? YES