The Disappearance of Eleanor Rigby Him & Them are both directed by Ned Benson and both are composed by Son Lux and the films star James McAvoy and Jessica ChastainThe Disappearance of Eleanor Rigby: Him & Them are two beautiful separate films that made me feel incredibly insecure about relationships and made me realize that nothing lasts forever and how people change and grow. This story is about the relationship between two people and how they try to find themselves again whilst trying to become better people in the long run and soon finding out things are not going to be that simple. We are taken through the two sides of the story, Him and Her and what happens during the process of their self discovery as Eleanor or 'Rigby' disappears as the name suggests. She doesn't exactly disappears but just takes some time to reflect on her life, her choices and her future as a person, she makes questionable decisions and puts everything into a perspective and we see Eleanor have multiple interactions with Conor along the way. Conor also goes through his own path which is a lot more about trying to find Eleanor whilst thinking about his life and how he is going to get through and also makes questionable decisions. I watched Him first so I got to really take a look into what happened to Conor first whilst not knowing what happened to Eleanor but seeing her change while Conor keeps bumping into her. Conor seems like he is being weighed down by something, he acts unhinged and acts unstable due to his emotional wounds caused by this new change in his life, he is lost and is unsure what to do now that something that he has had for years is now gone. I never saw Her because It didn't feel necessary, I thought Conor's story was more interesting and Them really summed everything up anyways, so I just saw Him and Them. Conor runs a restaurant with his friends, they help him through his break up which he tries to understand and we get to find out more about Conor as we get further into the movie. He cannot keep living in the apartment that he and Eleanor lived in together so he moves into his fathers home where we learn interesting things about his childhood and who he is as a person. There is a bit of tension or at least some subtle hints that his relationship with his father is not all that great and that they grew more distant as time went on. Eleanor needed a change from her life so she decides to take it upon herself to leave Conor for however long she needed, she started taking classes and changed her look to symbolize her current status as a person and as an adult, her relationship with her family is shown more as we can now tell her family is closer than Conor's which is important if we want to understand these characters and why they are the way they are. We can tell Eleanor wants her independence a lot and strives to prove herself to those around her, she starts to change slowly but keeps on moving backwards every time she has an encounter with Conor because Conor doesn't seem to realize the importance of their separation until the very end when they have a touching moment together finally addressing an issue we are unaware of until we gradually get further into the story. Conor keeps on pushing to know why she left and we understand that she just needs to find herself and become someone she wants to be and being with Conor won't let that happen. She doesn't know who she is and she is trying to find that out whether it be through classes, an environment change, a break up or just a new experience. It takes time for Conor to start to reflect and to stop thinking about Eleanor and where she went, whilst Eleanor is moving forward with her identity, Conor is trying to figure out her motives, her reason instead of thinking about himself and his choices even if they hurt. The only real relationship we see Conor have is with his father who has a hard time connecting with Conor when he needs him the most, he finds it hard to talk to his father and it looks unpleasant discussing his life with him in a sense. It seems like Conor was not aware of the relationship going south for a while so there is an element of denial and him not being able to deal with the fact that the relationship was destined to end sooner or later. Love is hard and it is even harder when you are not sure how to grow up or how to become a better person or change for the better, if we can even change that is. All Conor wants to do is find a way to get back with Eleanor which is not what he should be thinking about but rather how he should think about this change and why what happened has happened. We see Conor growing, but not enough to stop and think about what he is and who he wants to be, what he wants to strive for which this film is about really, who we are and how we grow as individuals and how relationships and grief can sometimes get in the way of our own personal growth.We want to believe these two people can become more aware of themselves as they are very lonely and very upset and are trying to move on as well as come to terms with the simple things in life and are struggling to find their footing, especially Conor.

This film tells the story of a married couple who grief after the loss of their son. They separate to grief on their own, and the film tells the story from their respective perspectives.The film starts off merry but soon turns very tragic without the viewers knowing why. When the reason for Eleanor's suicide is finally known to the viewer, it deepens the viewer's understanding of her emotions that she goes through. Most of the scenes are about her, and there is not much about him. As a standalone film, this works and is quite emotionally intense. Jessica Chastain is great as usual, although I'm really noticing that she is far too thin.After watching the three films, I have to say that "The Disappearance of Eleanor Rigby: Them" is far too similar to "The Disappearance of Eleanor Rigby: Her". Most of the footage comes from Her. I'd suggest watching Him and Her, and skip Them; or just watch Them.

. . . and now we must survive what feels like FIVE THOUSAND YEARS IN 'EL. Plus, just when it seems that the Wishy-Washy Indecision cannot possibly get any worse, the end credits for this flick disclose that it's ACTUALLY some sort of a trilogy, so that masochists can savor HIM and HER after persevering all the way through THEM. I once had a classmate who timed each entry into single-user home bathrooms at parties if the line got too long. After two minutes, she'd yell out something like, "Time to tinkle, Tina, or GET OFF THE POT!" THE DISAPPEARANCE OF ELEANOR RIGBY appears to be a story in which no one ever comes close to tinkling. My viewing partner said that watching imaginary paint dry on a canvas that an abstract artist has left intentionally blank would seem like the trailer for MAD MAX: FURY ROAD compared to RIGBY. If a film student wastes eight minutes of your time on an Artsy-Fartsy non-story such as RIGBY, one would hope they'd have to repeat the course. There should be a law against Hollywood charging the going rate to see a two-hour film with a mysterious title and a totally limp tale!

The sadness of being an incorrigible completist, I have to finish all these three films before writing my review, Ned Benson's ambitious feature-length debut is a post-trauma story of a young couple Conor (McAvoy) and Eleanor (Chastain) in New York after losing their child in an unspecified accident, HIM centres on Conor and HER centres on Eleanor in the same time period, then interweaves these two versions together, there arrives THEM, one can get an overall view of their paralleled life. So basically, I have watched the same movie twice, and certain scenes three times where the path of Conor and Eleanor converges. The premise is soundingly intriguing, as often cornily referred as two separate cerebral hemispheres, the film allows viewers to observe how men and women think and act differently towards the same scenario, in this case, a heartbroken tragedy. In HIM, the movie starts with one of their most intimate memory before their bereavement, an inadvertent thrill in their ordinary life sparks strong romance with Conor amorously says: "There is only one heart in this body, please have mercy on me". Then it jumps to several months of the aftermath, Eleanor uses an extreme method to declare that their life can not sustain as the status quo, they need to take a break. Conor doesn't understand why she needs her alone-time for her grievance, he is equally heartbroken, but he is ready to move on, leaving the tragedy behind with a seal on it, not to mention and keeps living on afterwards. He opens a bar with his best friend Stuart (Hader) and a flirty barmaid Alexis (Arianda) who is ready to "falling in love with him madly if he allows her". Meanwhile his father Spencer (Hinds) owns a successful restaurant named after Conor's mother, whom he dumped ages ago, it is also a thorny decision for him whether or not to swallow his pride to admit failure and take the restaurant inasmuch as his bar is on the brink of bankrupt, it is a privileged struggle as a rich kid's blues. In HER, no romantic prologue, Eleanor is introduced in her abrupt suicidal behaviour, then she returns to her bourgeoisie parents living in the suburb (played by Hurt and Huppert, he is a university professor and she is French), she goes back to the college and takes a class of professor Lillian Friedman (Davis), before long Conor finds out her whereabouts, stalks her in the street, in the classroom and eagerly to reconnect. As Hurt carefully phrases "Tragedy is a foreign country, we don't know how to talk to the natives", Conor's tentative makeup doesn't work, Eleanor needs to be over-indulged in the past for some time before finally moving forward, plus, she can spend all the time she wants in Paris, to heal her wounds, after a whimsical but failed reconnection during a pouring rain and a vis-a-vis opening-up in the middle of the night, it is rather tedious for her to realise that she should take a real break out of the Tri-state area. The disparity erected between each and every individuals cannot be compromised, only when they arrive in the same page with the same pace, they may have a chance to start anew as a couple. As often as he can, Benson intends to throw snappy verbal rejoinders to sound posh or vivacious, but most of the time they are ill-placed ("Now YOU sound maternal" throwaway) and uninspired, as most of the dialogues verge on beating around the bush either without any substantial function or being painstakingly predictable. Yet the two leads is recommendable in any rate, so it is safe to say the film is perfect for McAvoy and Chastain's stalwarts, both set off a full gamut of emotional overhaul and not to mention many close-ups to let their fans luxuriate in the idolatry. Among the eclectic supporting cast, Huppert radiates in every scene simply by holding a glass of red wine in her hand, and Davis thrusts her raw gravitas into her casual bantering with her THE HELP (2010, 8/10) co- star, as an outsider, she is the one who pierces through the surface without any scruples, only if she could have more screen time in it. The indie soundtrack is an understandable trapping of the prevalent mumblecore output, it's ambient, moody and meditative, tailor-made to outline the disposition of the storyline. Collectively speaking, the films attempt to be artistic and unique, it could have hit the bull- eye with all such a talented group, only if it could subtract the permeating tint of narcissism, and conjure up some more salient epiphany. At last, the THEM version abridges some minor sequences and merges HIM and HER with an intact take on the proceedings. There is no new scenes added, so one can choose to watch HIM and HER, or THEM, either is sufficiently competent to disclose its allure and drawbacks.