FIND MOVIES
Movie List
Loading ...
or
Find Theaters and Movie Times
or
Search Movies

Review: Restless

Death-obsessed teens in love
By PETER KEOUGH  |  September 27, 2011
1.5 1.5 Stars



Gus Van Sant's Restless follows a similar template to Jonathan Levin's 50/50 (read our review here), with more precious results. Enoch (Dennis's son Henry Hopper) doesn't have cancer, but he is obsessed with death, crashing funerals when he's not visiting his parents' graves. While engaged in the former he bumps into Annabel (Mia Wasikowska), a free spirit with a post–Annie Hall wardrobe. She's kooky — and she's going to die! Stricken with incurable brain cancer and with three months to live, she's the perfect girl for Enoch. In lieu of Seth Rogen's best buddy, Enoch pals around with the ghost of a Japanese kamikaze pilot; they bond over games of Battleship. By the time the quirky pair rehearse Annabel's final words you might be asking, "Death, where is thy sting?"

  Topics: Reviews , details, adolescence, young,  More more >
| More


Most Popular
ARTICLES BY PETER KEOUGH
Share this entry with Delicious
  •   ALTERNATIVE MEDIA AT THE BJFF  |  October 31, 2012
    After six decades of futility, maybe it's time for a new approach to achieving peace between Israelis and Palestinians. Some of the films in this year's Boston Jewish Film Festival offer solutions that sound a little crazy, except when you consider the alternatives.
  •   REVIEW: FLIGHT  |  November 01, 2012
    If Whip Whitaker (Denzel Washington) could land a doomed plane and save the lives of almost all the passengers while in the midst of a coke- and booze-fueled bender, imagine how well he'd do if he was sober.
  •   REVIEW: THE DETAILS  |  November 01, 2012
    God is not in these details. Jacob Aaron Estes's black comedy gets so dark that it's not even funny.
  •   REVIEW: A LATE QUARTET  |  November 01, 2012
    Unless Ken Russell is directing, films about musicians seldom are as exciting as the music they make.
  •   REVIEW: HOLY MOTORS  |  November 02, 2012
    Rivaling The Master in the weirdness of its opening scene, Leos Carax's first film since Pola X (1999) begins with a long take of an audience staring out at the audience watching the movie.

 See all articles by: PETER KEOUGH