George Clooney movie Jay Kelly praised as “Midlife Crisis Masterpiece”

There is a line in George Clooney’s new movie where one character tells him: “You are the American Dream, the last of the great movie stars.”

This is a comment that easily applies to real-life Clooney and one of several similarities between the American actor and his role in Netflix’s Jay Kelly, who just launched at the Venice Film Festival.

A great actor may not sound like many actors who play hugely successful actors. But Clooney’s performance is deeper than that, portraying an actor who finds himself feeling empty when he reflects on his life choices.

The fictional Kelly may be admired by everyone and welcomes a slice of cheesecake wherever he goes (the rules for the rider), but as he reflects on his career and legacy, he starts working hard to miss the family life.

“As for movie stars going through a crisis, the journey is a journey of a physical journey, but we are somewhat compelling for the premise of the psychological journey of interior decoration,” explains director Noah Baumbach.

He added that Jay Kelly lacked self-awareness, “becoming a way to try to work with this idea and how we hope to make up for this gap between how we arehaved and who we might actually be.”

Clooney may have been in the movies that occasionally appear in it over the past decade, but in Jay Kelly, he has been firmly back to movie star mode.

Although the film is an undisguised crowd, the subtlety of Clooney’s performance could lead him to attend the awards ceremony in the coming months, the best actor contest packed with A-listers.

The film saw its leader suddenly fall down the tool, a week he was about to start filming, a series of setbacks, including the death of a close friend and a fierce encounter with his former college roommate (played by Billy Crudup).

Without any warning, Kelly decided to fly to Europe to spend time with her daughter and get together – despite stopping in Italy for a lifetime achievement award.

His entourage—including his PR staff (Laura Dern) and designer (Emily Mortimer)—was forced to follow them because Kelly had little interest in their lives compared to his own.

But his various assistants gradually spun off and then returned to the United States as they realized that Kelly took it seriously that he might give up his career.

One person who stayed with him, however, was Adam Sandler’s manager Ron, which reminded the audience of the dramatic actor he did not do comedy.

“As an actor, when you read a script like this, you say, ‘ [expletive]I can’t believe I got this gift,” Sandler told reporters.

Of course, Sandler, Dern and Crude are stars themselves – all agree that the film helps them reflect on their relationship with the people surrounding them in the Hollywood propaganda machine.

“I’ve always been grateful to my managers, agents, PR people, I just know how difficult it is to cheer up anyway when they’re working hard and hearing the ups and downs of life.”

“But I do appreciate what they do, and I’m happy to play a man dedicated to someone. I appreciate everyone who does this and what that means to them.”

Deen said she was delighted to have the opportunity to play the “person who helped me raise me in my career” and described her PR staff as a “mother character”, especially early in her career after she started acting at the age of 11.

She also intends to be more considerate and realize her power as a celebrity. “I know my PR staff has a family? I definitely did it, but I definitely want to be more careful,” she said.

In Venice, the early response to the film was very different. In five-star review Robbie Collin’s description It is “a masterpiece of the midlife crisis” and takes the final scene as an example of “The Knockout”.

“[Jay Kelly] It looks like Clooney. He behaves like Clooney,” Collin said. “But maybe we shouldn’t equate one person too quickly – because Jay Kelly isn’t Jay Kelly, that’s the problem. ”

Geoffrey McNab granted “If Clooney plays another change in Jay Kelly, at least he does so in a more primitive and revealing way than ever before,” the Four Stars wrote.

But one-star review Peter Bradshaw from Guardian Say it is a “terrible, sensual and self-indulgent movie”.

Clooney may be attending the film’s premiere in Venice and posing for photos on the red carpet, but he disappeared at a traditional press conference due to a sinus infection – “Even the movie stars are sick,” Baumbach joked.

However, there is still a huge excitement on Jay Kelly’s ground – many viewers may notice that the name sounds similar to George Clooney.

“I knew George for years and I always wanted to find something related to him, very early on [when writing the script]we start saying, it will be George.

Actors often try to avoid playing their own version on screen – it’s much more stylish to go through major changes. But Baumbach said that in this case, Clooney’s real life is more popular than the barriers.

“I think it’s important for viewers to watch movies, and it has something to do with the actors who play the role.

“The character is escaping from most of his films, deflecting and trying to hide, and what I ask about George is that he is increasingly revealing himself.”

The Oscars may be a few months away, but Clooney is one of several A-listers who have become the best actor competitive year.

Leonardo DiCaprio, Timothée Chalamet, Daniel Day-Lewis and Dwayne Johnson are just a few names starring in the movie that are involved in the awards season in the coming months.

It can be said that Hollywood always loves a movie about itself – it could be Jay Kelly in a good awards season.

Clooney, 64, can easily win the Golden Globe nod and look at the first Oscar nomination since his descendants in 2012, but we will have to wait until later this season to see how his performance competes against others.

Baumbach himself is no stranger to the Oscar voters (his 2019 film marriage story gave Dern the Oscars score), and he is back after receiving a good receipt of the last film, White Noise.

The director reflected: “If you make a movie about an actor, you are making a movie about identity and performance and finding yourself.”

“Actors have been trying to find their own role, asking about their own figure, and it’s a character outside of themselves. I think it’s what we feel like when we go through the essence of our lives, we’re all doing our own things.”