Greenberg Blu-ray Movie

Rating summary

Movie		3.0
Video		4.0
Audio		4.0
Extras		1.0
Overall		3.0

Greenberg Blu-ray Movie Review

No work and no play makes Greenberg an angry boy...

Reviewed by Kenneth Brown July 1, 2010

More than contemporaries, acclaimed indie filmmakers Wes Anderson and Noah Baumbach are personal friends, professional collaborators (The Life Aquatic with Steve Zissou and The Fantastic Mr. Fox), and influential visionaries. The pair have even adopted similar approaches to storytelling, relying on eccentric outcasts and recluses to examine everything from entitlement to family to parental inadequacies. And while I personally enjoy Anderson's tactics far more -- I've revisited Rushmore and its ilk countless times, but have yet to rewatch a single Baumbach flick -- both have proven to be extremely talented writers and directors. Stylistically though, the two couldn't be more different. Whereas Anderson uses brash, socially inept bohemians and redeemable, well intentioned narcissists to explore the bounds of human relationships, Baumbach calls upon damaged, fatalistic pariahs and bitter, sullen nonconformists to dig into darker recesses of the heart. Whereas Anderson eagerly employs colorful characters, vibrant palettes, playful dialogue and impish, lighthearted drama, Baumbach delivers self-destructive isolationists, desolate hues, awkward musings and bleak, uncomfortable comedy. But Baumbach's latest film, Greenberg, is difficult to digest and even more difficult to love. In a valiant attempt to harness the tone and tenor of a minimalistic American novel, Baumbach simultaneously underwhelms and overextends. Thank goodness for the unexpectedly reserved Ben Stiller, Rhys Ifans and Greta Gerwig, without whom Greenberg would die a slow, lonely death.

"Life is wasted on people..."

Meet Roger Greenberg (Ben Stiller): recently released mental patient, obsessive malcontent and uptight, lovelorn loser. Stripped of his license following his stay in the hospital, he decides to live with his brother, Philip (Chris Messina), until he's able to start driving and working again. Not that he's in any hurry to find a job. When his brother leaves for an extended getaway in Vietnam, Roger is left to his own devices, tasked only with watching Philip's house and dog. Enter Florence Marr (Greta Gerwig): awkward twenty-something, dutiful Greenberg-family personal assistant and, conveniently, Roger's emerging love interest. (Despite being almost half his age, Florence is actually more interested in him than he is in her, finding his antisocial antics and vulnerability oddly alluring.) But while the pair become quick but unlikely friends, Roger is too busy dealing with a scattered mind and a host of issues to give Florence anything she needs. Not only is his brother's dog diagnosed with an auto-immune disorder, he's distracted by the appearance of an old flame (Jennifer Jason Leigh), his strained friendship with a once-scorned band-mate (Rhys Ifans), and chummy neighbors who use the Greenbergs' pool. Meanwhile, we're left to wonder... can Roger contain his anxiety long enough to establish a meaningful relationship? Can he suppress his selfishness and turn over a proverbial new leaf? More importantly, will Florence still be around if and when he does?

Baumbach has never been a traditional filmmaker, but his fundamentals have always been sound. At least until now. The second half of Greenberg is much stronger than the first, cursing the film with a stilted, unwieldy disposition Baumbach fails to couple with a worthwhile payoff. Roger is an obnoxious, insensitive protagonist; so much so that I had a hard time empathizing with his psychological plight, even when Baumbach suddenly produced a softer, gentler Greenberg at the eleventh hour. His volatile behavior not only makes him an ugly, untempered monster of a man, it transforms Florence into an all-too-willing victim of emotional abuse; a shy, sexually compliant nymph whose inability to find a suitable companion has left her inexplicably damaged and desperate. Together, Roger and Florence are a conundrum, offering little in the way of support and even less in the way of healing. Apart, the pair are a paradox, engaging in dead-end encounters and aimless pursuits. Only Ifans' Ivan Schrank earned my full attention and investment, lending some much-needed heart to the film. In Baumbach's previous work (most notably The Squid and the Whale), the director made a conscious effort to carefully reinforce his characters' humanity, regardless of any decisions they made or flaws that were revealed. Not so in Greenberg. Baumbach deals in so much emotional ambiguity and toils with so many bewildering subplots that the story and, by extension, Roger and Florence become stagnant beasts of narrative burden; lovers lost in the murky shadows of each other's mundane lives. Yes, there are moments of undeniable realism -- exchanges and interludes that ring incredibly true -- but there are also moments that require an unwavering, almost militant suspension of disbelief.

Even so, Stiller, Ifans and Gerwig deliver arresting, unexpectedly affecting performances. Stiller shrinks away from the comic stylings that built his career, channeling Robin Williams to craft a haunted, somewhat disturbed leading man prone to sudden outbursts and silent breakdowns. (Roger's mocha-tinted vest -- protective armor he brandishes even in the hot LA sun -- is just one of many small touches the actor wields with careful conviction.) Unearthing nuance where there isn't any to be found and carving footholds where none have been established, his dramatic turn is easily the most captivating aspect of the film and Baumbach's saving grace. It's strange though. The more I grew to despise Roger, the more I found myself enjoying Stiller's angled performance. Had I felt as connected to the character as I felt to the actor, I would have come away singing Greenberg's praises. Hopefully those who feel a deeper connection to Roger and Stiller will be spared my heartache and headache. That being said, Ifans steals entire scenes from his A-list co-star. I wanted Baumbach's cameras to follow Ivan every time he walked off screen. I wanted to know more about his life, see his interactions, and trace the course of his relationships (especially with his young son). Gerwig impresses as well, tethering the film together even when Baumbach's seemingly random tangents threaten to pull it apart. She paints Florence as a wounded innocent and allows a befuddled sweetness to permeate the young woman's every reaction and expression. Her delivery isn't as believable as Ifans' or as purposeful as Stiller's, but she holds her own with mature, measured ease.

I "get" Greenberg. I do. I understand exactly what Baumbach was aiming for, everything Stiller and his castmates were working toward, and everything the story and its protagonists were designed to accomplish. But the whole of the film is such a joyless, uneventful character study that I found myself drifting further and further away from the path set before me. I truly wanted to enjoy the film as much as I enjoyed its performances; I wanted to immerse myself in Roger's world as readily as I immersed myself in Stiller's work. For whatever reason though, be it Baumbach's approach or personal taste, I simply couldn't fall for Greenberg.

Greenberg Blu-ray Movie, Video Quality 

Little about Greenberg's 1080p/VC-1 transfer leaves a lasting impression. Harris Savides' photography is often awkward, flat and dreary, and Universal's presentation is prone to shallow blacks and at-times impenetrable charcoal shadows. But therein lies the beauty of it all. Like Stiller's Greenberg, Baumbach's Greenberg isn't meant to leap off the screen; it's meant to drift from sunny exterior to naturally lit interior, finding comfort in the ordinary and recoiling from anything remotely extravagant. Normally, such muted colors, impotent primaries, and cautious contrast leveling would amount to a slight eyesore, but here they complement Baumbach and Savides' smartly restrained intentions. That's not to suggest there isn't anything remarkable about the transfer beyond its faithfulness though. Skintones are warm and lifelike, detail and fine textures are refined on the whole, edge definition is fairly sharp and clean, the film's faint veneer of grain is thankfully intact, and the technical image isn't hindered by any significant artifacting, smearing, banding, ringing or noise. Still, viewers should adjust their expectations accordingly.

Greenberg Blu-ray Movie, Audio Quality 

The same could be said of Universal's unassuming DTS-HD Master Audio 5.1 surround track; a reserved yet fulfilling lossless mix that enhances Greenberg's every verbal outburst, uncomfortable encounter and grueling silence. Dialogue is clear and intelligible throughout, be it whispered in a crowded restaurant or echoing in the confines of a cramped car, and prioritization is spot on. Yes, the overall experience is largely a quiet, front-heavy one, but it's consistent with the film itself and surprisingly convincing. Though the rear speakers are tasked with little more than ambient support, the film's locales come across as lived-in and authentic. The clamor of a narrow downtown diner hums with the sounds of an overworked kitchen and a frequently traveled street; the cantankerous buzz of passing cars assault Greenberg as he walks home; a birthday dinner is continually interrupted by the conversations being held at other tables; and a busy veterinarian office is haunted by the warble of muffled barks and a distant waiting room. Better still, James Murphy's original music and George Drakoulias' classic-rock and current-indie song selections fill up the soundfield, lending occasional sonic weight to the mix. Just don't wait with baited breath for any serious LFE output. While several heftier effects pack some punch, they're few and far between. Regardless, the disc's DTS-HD Master Audio track pairs with its video transfer nicely to create a measured but meaningful AV presentation.

Greenberg Blu-ray Movie, Special Features and Extras 

Sadly, the Blu-ray edition of Greenberg slinks in with a slim supplemental package comprised of three bite-sized shorts. "A Behind the Scenes Look at Greenberg" (HD, 3 minutes) turns out to be nothing more than an expendable EPK; "Greenberg Loves Los Angeles" (HD, 2 minutes) is an all-too-short production overview in which a parade of insightful talking heads left me hungry for an audio commentary; and "Noah Baumbach Takes a Novel Approach" (HD, 2 minutes) succinctly reveals Baumbach's inspiration for the film and Stiller's attraction to the script. It represents a mere seven minutes of material, none of which satisfies.

Greenberg Blu-ray Movie, Overall Score and Recommendation 

Greenberg didn't always work for me, but its slowly evolving story and performances (particularly those from Stiller, Ifans and Gerwig) managed to win me over a bit by the end. And while it isn't a film I'll ever revisit in the future, it does represent a milestone in Stiller's career; a dramatic turning point that suggests the hyper-sardonic Tropic Thunder funnyman may be in possession of some serious acting chops. Unfortunately, the film's Blu-ray release will strike some as hit-or-miss. Its superficial, seven-minute supplemental package disappoints -- a witty Baumbach/Stiller commentary would have been a boon -- and its introductory pricepoint seems steep. That being said, the disc's AV presentation is both faithful and proficient, adhering to Baumbach's vision without suffering from any notable deficiencies. If nothing else, Greenberg is certainly worth a rent. Give it a try and see if it appeals to your sensibilities.