50/50

I didn’t know very well what I was getting into, I took a cursory look at the film's profile and, judging by the poster, I expected it to be another comedy with a chatty Rogen, though exceptionally well-received. I was wrong, very wrong. 50/50 is a real-life story that portrays a more or less realistic main character who has to deal with a serious illness and a challenging treatment that will change his life fundamentally. At times the narrative is quite depressing and poignant, but fortunately also pleasantly funny, unpretentious, and very personal and smart thanks to Levitt's performance. Unlike most, I didn't mind the foul-mouthed Rogen, who on the contrary brought the same freshness to the film as he did to his sick friend. It's a weird film, there are some really funny and light-hearted moments, but when you realize what's actually going on and how things will turn out, the laughter comes out a bit hard. But on the other hand, the expected happy ending finally hits us so hard that we want to jump out of our chairs, give our emotions free rein; we want to live. And this is exactly what this film is about. 80% (27/01/2013)

Cliched, civil comedy/drama at it's purest. Functional on both counts, though I'd be happy to welcome Gordon-Levitt back as the kind of emotionless weirdo who I wouldn't even lend a ruler to that he played so well in Brick or Inception, and Seth Rogen's humanoid portrayal of everything that would make emancipated women burn from the inside isn't exactly capable of inspiring confidence that he'd ever have sex. *SPOILER ALERT* However, I do welcome the ending, which could have been resolved (and I expected it to be) in a fashionably shitty way given the nature of the film (Adam is taken to the operating room – cut and end; the lady surgeon comes up to the parents – cut and end; alternatively, Adam dies – cut and end), but the happy ending won out. And why not, if the film wants us to relate to the main character in some way, then if we were to die in the operation, we'd have a whole different set of problems, whereas by surviving it, our lives begin anew. I'll change my rating when they diagnose me with cancer. After all, my melanomas do move a little strangely at times. Keep in touch. (27/05/2012)

Some situations in life are simply not easy. You can run, not smoke, eat fairly healthy, but it still won't save you from cancer. This bitch just appears in anyone's life, she's not exactly picky. When Adam, a young man, finds out he has cancer, he is quite surprised. On the other hand, we must realize one crucial thing - the main characters in the movie are Joseph Gordon-Levitt and Seth Rogen, especially the latter is not someone who plays in fundamentally dramatic films. Is it possible to approach the diagnosis of cancer humorously, or at least with a smile? More: http://www.filmovy-denik.cz/2013/02/5050-2011-70.html (13/02/2013)

“I’m Adam Lerner, schwannoma neurofibrosarcoma.“ Another developmental stage of the bromance genre. Apatow’s comedy is intertwined with a “dying” melodrama. The boy-girl romantic storyline serves mainly as means of presenting the protagonist in greater detail, but it doesn’t answer the question of whether Adam’s girlfriends leave him melodrama because they’re bitches (as Kyle clearly believes) or because of his bland character and lack of will to change anything. Conversely, most of the truly touching moments are provided by the bromance storyline that sensibly uses Rogen’s committed (only?) position that he is a horny idiot and doesn’t care. He credibly complements Gordon-Levitt’s decent “I don't drink, I don’t smoke, I don't have a driver’s license” character (whose only bad habit is apparently biting his fingernails). The striking contrast between the two central characters is entertaining and their friendship is believable, while also offering two possible concepts of the human body – for survival/for satisfaction through pleasure. The laid-back pace of the narrative, sensitive incorporation of a serious subject into a comedy and the reduction of sentiment are definitely not qualities seen in every cinematic enrichment of oncological discourse. 50/50 not only enriches that, but also expands on it by putting a spotlight on false compassion and selfish unwillingness to take the negative with the positive, which is achieved through an initially likable girlfriend. Adam’s subsequent depressing loneliness casts doubt on the validity of the saying “live with people, die alone”. Some people are assholes, dying alone is a drag and living with a tumour involves pain, fatigue and vomiting. Banal, but true. The conveying of the knowledge that there may be no "after" was among the most powerful instance of such a message that I have ever experienced thanks to a film. Vastly superior to carcinogenic dramas. 85% (20/11/2012)

The chemistry between Anna Kendrick and J.G. Levitt works great. Seth Rogen is appropriately awkwardly funny (more comic this time around), but his role is extremely rewarding to watch and perfectly demonstrates one of the possible ways Adam deals with everything (or, also, how Kyle (ab)uses it). It was nice, even endearing, how Katherine tried to apply her studied and textbook methods to every possible situation, because she was really incredibly cute when she was embarrassed (you almost felt more sympathy for her than for Adam). In short, I've listed probably the highlights that came out of the production of this film. Three hugely interesting characters, and in all cases superbly acted. And the trio of fantastic performances, topped off with some very darkly funny dialogue (the Patrick Swayze bit nearly killed me), a nice minimalist score, and some nice (perhaps naive to some) emotional moments, deserve some of the more distinguished ratings. (08/01/2012)