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On the Road Reviews
"On The Road" is a years long 'on the road' journey with our protagonist writer and Dean Moriarty, his wild and compelling friend, all across America, as Dean deals with relationships and his unpredictable lifestyle. There are some interesting moving parts, whether that be each character's dilemma or the long over-arching story. It is a long watch though, so you'll have to be patient. But, it is an interesting walk-through of a friendship that was as spontaneous as two simple misfits might imagine.
Pretty bad - only redeeming features are it saves reading the book - if you haven't already read it. And introduces Kirstin's Stewart & Dunst and Elizabeth Moss in what must have been pretty early roles.
Too bad, what could have been from an amazing book.
Hard to capture Kerouac in a movie and this one gets a little character-frantic. Overall it's an interesting journey of Sal and his crazy friend Dean.
I really enjoyed the book from my favourite nostalgia era. I don't agree with the rotten tomatoes. I feel the movie exposed the hedoism and the escapism of conservative family suburban drudgery. Personally I loved the book and the movie. I am a bit of a natural writer myself.
I read Jack Kerouac's On the Road about 40 years ago and seem to recall enjoying it. The movie adaptation? Not so much. For the uninitiated, the story centres on Sal Paradise, an idealistic budding writer, and Dean Moriarty, a Proust-reading conman and narcissist. Sal, Dean and their pseudo-intellectual friends, all of whom speak in incomprehensible Beat platitudes, are in search of the elusive and undefinable "it" (whatever "it" may be). They don't like conforming to society and resort to theft, vandalism, impaired driving and general bad behavior to prove it. The film itself, directed by Walter Salles, is filled with a cloying jazz score, annoying "snap" editing, bleached out colour tones, and jittery hand-held camera work. While it may be true in spirit to the Kerouac novel, that doesn't mean it's easy or pleasant to watch.
I don't know if it is because the source material is dated or the film fails to capture it, but there is nothing going on in the film. Stewart is the one bright spot.
I only watched this movie on Demand for free just because Kristen Stewart is in it and I was utterly disappointed by it. She was BARELY in it that much and she didn't do anything in it except play a slutty young woman who doesn't do much in the movie. The movie is about this young writer who goes on a bunch of random road trips with his buddies and writes about everything interesting (at least according to him) that happens. Oh and he and his friends are all big time smokers and alcoholics. On the Road is a very boring movie with no plot. This is so weird... I swear to God, I saw on 온라인카지노추천 that the Metascore for this movie was 71%, but now on Google I see it has a 56% Metascore. My 온라인카지노추천 must've been busted or something. Anyways, this movie was so fucking boring. There was no story, no plot, and the movie's pacing was so slow. None of the characters were interesting, they were all boring cardboard characters. I fell asleep through some parts of this film. It actually took me a couple of nights to finish watching it. This movie was a waste of approximately 2 hours and 15 minutes I'll never get back. That was a total waste of time! I would not watch this movie again! Rating: 4.1/10
I think the book is pretty good, I think the Director is brilliant but this film, this is dreadful. It's staggeringly dull and you feel every minute of it's two hour plus running time. So, so boring, ooh we're edgy and hip, we have sex and smoke weed. That is not a film plot.
Pointless and dull. Not every story needs to be a movie. Also my sole reason for watching, Kristen Stewart, is top-billed but barely in it. Not cool.
The slow, deliberate pacing may annoy less patient viewers, but On the Road is anchored by beautiful cinematography and an understated performance from Garrett Hedlund.
Though the film was a mess (as the book seems to be) the film did not let me down in the sense of keeping me watching. My biggest problem was the overload of character after character. It had some awkward moments and some confusing scenes for sure, but the screen adaption of On the Road is a whirlwind of events that manages to keep our mind tied up in a knot and let's it unwind by traveling the country, gleefully down a road that comes with its unexpected share full of people and adventures
cinegeek.de Jack Kerouac's "On the Road" ist ohne Frage einer der Meilensteine moderner amerikanischer Literatur, mehr noch, der Inbegriff der Beat Generation! Walter Salles Verfilmung wirft nun die Frage auf, wieviel "Story" eigentlich in dem Werk steckt? Kerouacs Held Sal Paradise sieht hier aus wie ein moderner Outlaw, begleitet von Dean Moriarity auf einer Reise quer durch Amerika. Im Gepäck: Frauen, Suff und Jazz. Eine Reise voller Geheimnisse, aber keine simple Sinnsuche. Kerouacs Roman stellte in den späten 50ern keinen Triumpf, sondern einen Flächenbrand dar! Der Autor war permanenter Gast in Talkshows, seine Beats zierten das Life Magazine mit dunklen Sonnenbrillen und intensiver Coolness. Ich denke, auch später gehörte es noch zum guten Ton, das Buch bei sich tragend mit schwarzem Kaffee und Miles Davis Platte unterm Arm einen guten Eindruck zu schinden. Der Brasilianer Walter Salles zeigte in der Vergangenheit ein grosses Interesse an der Selbstfindung junger Männer, die auf ihrem Motorrad unterwegs sind. An Oh The Road interessiert Salles am meisten, wie Kerouac (der britische Schauspieler Sam Riley) geformt wird durch Dean Moriarty (Garrett Hedlund). Dean im Film ist ein leicht zerzauster, lakonischer junger Mann, dessen Faszination für Kerouac begleitet wird von seiner Vorliebe für Autos und Mädchen. Kerouacs Frau Carolyn (Kirsten Dunst) tritt im Film auf kurz nach der Geburt ihres Babys. "Dean and I are going out," erzählt ihr Sal. "Want to come along?" "No," antwortet Carolyn, "I'll stay and look after baby." Kurz bevor er geht, wendet er sich noch einmal an sie und betont, er hätte sie immerhin gefragt. Carolyn aber kennt die Wahrheit: Sal hat weder Interesse an ihr, noch an dem Kind. Ist die Freundschaft zu Dean im Kern homosexuell? Der Film kennt keine Antwort darauf. Ihre Reise bekommt epische Ausmasse, durch einsame Landschaften im Cadillac auf dem Weg nach San Francisco. Anhalter kreuzen ihren Weg, sie stoppen in den typischen Diners und schliesslich schreibt Sal ein paar Zeilen: "I first met Dean..."
A big-screen adaptation of Jack Kerouac's seminal novel On the Road was always going to be love-it-or-hate-it. Its reputation will lead the uninitiated to have inflated expectations, and the very novelistic nature of the material will cause Kerouac devotees to expect the worst. Count me in the camp of the former. Sadly, my life as a cinephile doesn't extend into the realm of books nearly as often as it should, and I have yet to read On the Road. The film, however, looked like it could hit all my buttons, and to a certain degree, it actually does. The cinematography is sumptuous, and all three principals bring a great deal of authenticity to the ideas that emanate from the source material. If there's one perfect word to describe On the Road, it'd be "beatnik," so fear not Kerouac fans. That said, director Walter Salles and, particularly, screenwriter Jose Rivera don't properly grab the reins to prevent On the Road from flying off the rails at times. Still, this messy, sprawling motion picture gets more right than wrong, and it's definitely a nice change of pace from your standard end-of-year prestige fare. The film's protagonist is Sal Paradise (Sam Riley), an aspiring writer who finds inspiration in his free-spirited friends-Dean Moriarty (Garrett Hedlund), Carlo Marx (Tom Sturridge), and Marylou (Kristin Stewart). Together, they drink, listen to jazz, have uninhibited sex, and lament the passing of time and the rigidness of American culture. They strive to live lives that are as free-flowing as the booze in their favorite nightclubs, and after several weeks together in New York, Carlo joins the navy, and Dean and Sal hit the road. Over the course of several years, they visit Denver, California, and New Orleans, among other places. They encounter beautiful women, interesting men. They grow up. They act like children. They live. The film is, by design, as structureless and meandering as its characters. These are people who don't own anything but a few white T-shirts. They don't work in any one place for but a month or so. Dean is the most interesting of the bunch. Where Sal is a real pro at observing, Dean seizes every moment-even if the act of "seizing" means abandoning or hurting someone who loves him. The film's one and only through-line is sex. Dean hooks up with Marylou, but Sal is gaga for her. She's down for whatever with whomever, but the same can't be said about Camille (Kirsten Dunst), the mother of Dean's child. She loathes him and the way his lifestyle has completely ruined her. Carlo, meanwhile, is gay and wants to travel to Africa to find a man. The film is so sexual. Not sexy, mind you, but sexual-filled with and often driven by animalistic sex. Dean, Sal, and Marylou sweat, strip, and sex it up in what seems like every other scene. When they aren't having sex, they're either talking about it or thinking about it. It's neither a benefit nor a hinderance to the film as a whole. It'd be hard to argue that Salles' approach doesn't make you analytically understand this way of life, but that's the least we should expect out of an adaptation of a work as monumentally important and influential as Kerouac's novel. The real question is: Do you feel anything? Some sort of narrative arc would have done the film wonders in that department. From a technical point of view, however, On the Road is aces. Its mis-en-scene drips with nostalgia for a culture and way of life long gone; Its cinematography (courtesy of Eric Gautier) is beautiful and inventive-making use of the "road trip with friends" concept without sacrificing the aesthetic appeal of 1950s Americana. If only the screenplay could have done the same... Riley, Hedlund, and Stewart give performances ranging from great to solid. Hedlund is the best of the bunch in the showiest-but hardest to nail-role. Riley's scraggly voice is arresting and helps the actor breathe life into the mostly passive Sal. Stewart is the weakest of the bunch, but not for lack of courage. Her character is mostly just a sex object, which Bella Swan surprisingly excels at, but she's mostly a non-starter when it comes to anything else. The most succinct way to sum up On the Road is "easy to admire, tough to love." It's an accomplished bit of filmmaking, but-like its main character-it merely observes. As a result, you don't feel much other than admiration for some solid acting and great craftsmanship. Throw in a solid story with some kind of narrative momentum, and you might be looking at one of the year's best. As it stands, it's passable, watchable prestige filmmaking, but don't go in expecting the cinematic equivalent of one of the past century's most adored novels; You'll leave sorely disappointed. http://www.johnlikesmovies.com/on-the-road-review/
Definitely not the greatest film ever made, but not very deserving of the hate it received either. In truth, there were parts from the book that were sorely missed in the film adaptation. However, this was a beautifully shot, and beautifully acted so-close-almost-there masterpiece that deserves way more credit for what it was trying to accomplish. I was a fan of the book, and I am ultimately a fan of the film as well. In a world where every film is either a rehash, reboot, or sequel--It's nice to know some folks out there will give it there all to bring art to life. Walter Salles poured his heard and soul into this, and it shows.
Sal Paradise goes on the road with Dean Moriarty and company. This film is less than the sum of its parts. In his effort to get the feeling of the Beat Generation, director Walter Salles has some quick edits and some free-wheeling music and some of the lines lifted from Kerouac's novel - all cinematic tricks that should work, but yet there's still something staid about this film. Perhaps it's the gravelly voiced Garrett Hedlund, who seems more focused on the image of Sal than the character, or perhaps it's the hackneyed shoe-horn of a script. Or perhaps Kerouac was never meant to be adapted. Overall, it was worth a shot, but this is one book-to-film adaptation that missed the mark.
A quite ambitious film adaptation of a supposedly unfilmmable novel (which I have not read yet). If it's lucky, this all-star cast road movie could become an ultimate travel guide for hippies, Aristocrats, and artists across the globe in the next few years (maybe decades, just as the novel became one of the American classics over a long period of time). I think I admire the film rather than like the film, and it can be tedious at times. But the performances are strong (Garret Hedlund and Kristen Stewart are sensational), the visuals are beautiful to look at, and the score is an aural treat at its best. On the Road has issues, but it's certainly not a failure. I may change my mind once I read the book, but for now I think it's a solid film.