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The Pleasure of Being Robbed (2008)
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All reviews for The Pleasure of Being Robbed
Eleonore Hendricks: The Media Diet
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"As the hipster kleptomaniac at the center of Josh Safdie’s adorable debut feature The Pleasure of Being Robbed, Eleonore Hendricks steals a lot of things, but mainly the audiences’ hearts. The twentysomething actress, despite her newfound indie cinema fame, still works at the video store Cinema Nolita and binges on way too much Lukas Moodysson. After just wrapping Eric Juhola’s short film The Nowhere Kids (a fictional speculation on Gotham Award nominee and Slamdance winner Off the Grid: Life on the Mesa), Hendricks is getting ready to begin production on Safdie’s new project, Go Get Some Rosemary. In the meantime, I caught up with her to chat about Barbara Loden’s Wanda, her extra special week of movi "
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The Pleasure of Being Robbed Re ...
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"This review originally ran during the SXSW Film Festival. The Pleasure of Being Robbed opens in NY today and is available on IFC Video on Demand. What a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which he delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess m ... "
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Baby Boom: Trade Roughage 04/28/08
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"Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departin "
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Baby Boom: Trade Roughage 04/28/08
by
SpoutBlog
in
SpoutBlog on spout.com
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Was this review helpful?
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"Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departin "
[More]
A French-y Fortnight: Trade Rou ...
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Karina
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Karina on SpoutBlog
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"Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movi "
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A French-y Fortnight: Trade Rou ...
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
Was this review helpful?
[Be the first to tell us!]
"Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movi "
[More]
SXSW 2008: The Pleasure Of Bein ...
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
Was this review helpful?
[Be the first to tell us!]
"What a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which Bresson delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess means that the best compliment I can pay Safdie is that his work makes film better. And it’s here that I feel the need to quote his own synops ... "
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