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It looks like the sequel to "Lost in Tokyo", but it's just a lovable movie - Walla! culture


Sophia Coppola is back to collaborate with Bill Murray and deal with father characters in "On The Rocks," which aired directly on Apple TV. There are many beautiful things in the film, but also many failures that make the result missed, unconvincing and unsatisfactory.

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It looks like the sequel to "Lost in Tokyo," but it's just a lovable movie

Sophia Coppola is back to collaborate with Bill Murray and deal with father characters in "On The Rocks," which aired directly on Apple TV.

There are many beautiful things in the film, but also many failures that make the result missed, unconvincing and unsatisfactory.


  • Bill Murray

  • Rashida Jones

  • Sophia Coppola

  • Apple TV Plus

Avner Shavit

Monday, October 26, 2020, 12:00 p.m.

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Trailer for the movie "On The Rocks" (Apple TV)

Image processing Shai Librovsky

As befits a daughter of a Hollywood aristocratic family, Sophia Coppola loves to engage in father figures.

In "Lost in Tokyo" from 2003, to this day her best-known and most beloved film, Bill Murray played the character of a spiritual father.

In the fresh "On The Rocks", in which the actor reunites with the director who gave him one of his most beautiful roles, he plays a biological father.

"On The Rocks" won short commercial distribution in countries where theaters are open, and over the weekend Apple TV Plus went up - with us, too, of course, making it Coppola's first feature film not shown on the big screen.

It opens with the voice of the dominant father, declaring that for him, his daughter belongs to him forever.

Next, we meet this daughter, played by Rashida Jones.

It turns out that she is a writer in her forties, who of course experienced a writing barrier - have you ever met a writer or a writer who does not experience such a barrier?

In addition, she also has trouble in her married life.

The relationship with her partner and the father of her children, Marlon Vince, has lost all trace of interest and passion over the years, and there is a suspicion that he is cheating on her with a co-worker.

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For the first time, a Sofia Coppola film is not coming to our cinemas.

From "On The Rocks" (Photo: PR)

The possessive and jealous father enjoys cultivating this doubt, and drags his daughter on a detective journey with him to find evidence of infidelity.

This adventure allows her to go through two inner journeys: to whitewash things in front of her partner, but no less important, if not more, to do relationship therapy for her and her father as well.

More than "Lost in Tokyo", the film is reminiscent of the German "Tony Ardman", and also belongs to the very specific sub-genre of "Daddy Shames" films.

The father here is a classic figure of the awkward uncle from the holiday table - talks non-stop, turns any social situation into embarrassment and provides a host of Stone Age comments, especially those that slide into the realms of sexism.

On the other hand, he is also a person full of personal charm, who loves the good life and knows how to live it, knows everyone and is able to rescue himself and those around him from all trouble.

Bill Murray is the ideal actor to play such a character, and does so on autopilot.

Coppola, for her part, exhibits here qualities that have characterized her work in her previous films as well.

"On The Rocks" is full of subtle and sympathetic human nuances, for example when the protagonist is a little offended that her partner did not bother to ask the waiter to bring her a birthday cake with candles when they ate in honor of a holiday, or when she receives a completely functional and emotionless gift.

On the other hand, as usual with her, the film has thin layers of irony and black humor.

For example, when the protagonist's father watches with his tiny grandchildren "breaking lines" at the height of nonchalance, and does not understand what is wrong with it.

Without a hipster aesthetic, but with beautiful games in light and dark.

From "Lost in Tokyo" (Photo: PR)

"On The Rocks" does not have the stylish aesthetic associated with Coppola from her previous films.

It is much more modest, but here too there are beautiful cinematic touches.

Together with the photographer Philippe Le Sur, who also worked with her in her previous film, "The Temptation", Coppola is good at playing with colors, light and darkness.

The soundtrack is also less crowded than usual, but it has original music written by the Phoenix band, led by her partner Toma Mars, and was responsible for the most beautiful moment in the film - a simple moment, just a description of a father and daughter getting in the car, but full of beauty and emotional power.

There are other virtues in the film as well: Rashida Jones is as charming as ever and Jenny Slate, who appeared with her in the "Gardens and Landscape Department", emerges in an amusing supporting role as a mother from the school attended by the protagonist's daughters, who is forced to hear from her over and over again. Face of interested.

The phrase "On The Rocks" has two meanings: a description of an unsettled relationship and a description of the form of serving an alcoholic beverage.

Both fit the film to some extent: it has the specific weight of an aperitif, and it rests on chicken legs, neither crystallized nor convincing.

First of all, there is a script failure here: there should be some ambivalence around the loyalty of the protagonist's partner, so that we may wonder if the thought of him being a traitor is nothing but her paranoia or her father's obsession.

But the script gives so many signs that he is indeed making her horns, that any sane person would believe it, and this ambiguity is lost.

In addition, the same partner also turns out to be one of the dullest gray characters recently seen on the screens, and every scene he participates in is a sleeping pill.

There is also a problem in shaping the dynamics between the father and his daughter - unlike "Lost in Tokyo" and "Tony Ardman" mentioned earlier, where the two characters were strong, here the father figure is much more present and dominant, so more than a movie about both, It's enough, presented most of the time as a curiosity, to hold "On The Rocks" on its shoulders.

Lost in the Dark.

From "On The Rocks" (Photo: PR)

The whole film leads to the inevitable confrontation between the protagonist and her father, but when it comes - it ends in an anti-climax. Coppola seems to want to eat the cake and leave it intact. It tickles the drama, but without really poking around wounds or pressing buttons, and accordingly the result is unsatisfactory. In addition, "On The Rocks" turns out to be so conservative over time that it can be marketed as a hymn to monogamy.

In the weird and uneven coolness of Sophia Coppola, "On The Rocks" is not a bad movie, but certainly one of its weakest. In a broader context, of the streaming wars, it continues the midline line of Apple TV Plus. I watched all their movies so far, which was a considerable sacrifice, and unlike Netflix and even Amazon, they never managed to rise above, and always remained in a mediocre league. Maybe it's time to change the name of the service to "Apple Tivi Plus Minus".

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Source: walla

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