The actors are effortlessly engaging.
Medicine for Melancholy (2009)
Tomatometer
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Reviews Counted:34
Fresh:30
Rotten:4
Average Rating:7.1/10
Consensus: Blessed with clever dialogue and poignant observations of class and race, Medicine For Melancholy is a promising debut for director Barry Jenkins.
Theatrical Release:Jan 30, 2009 Limited
Synopsis: The premise of MEDICINE FOR MELANCHOLY seems simple enough: a man and woman wake up together after a night of drinking, neither knowing the other’s name. Introductions are finally made, and the... The premise of MEDICINE FOR MELANCHOLY seems simple enough: a man and woman wake up together after a night of drinking, neither knowing the other’s name. Introductions are finally made, and the could-be couple spends the day traversing the city of San Francisco by foot, bike, and taxi. But first-time feature director Barry Jenkins takes this basic idea and builds, making a thoughtful, stylish film that feels at once entirely natural and well-crafted. THE DAILY SHOW’s Wyatt Cenac stars as Mycah, a black hipster, whose manner is laidback except when he is talking about matters of race. Newcomer Tracey Heggins is Jo, a black woman with a post-racial mindset who is all angles and resistance to Mycah’s charms. Their day functions as a first date, beginning with plenty of awkward silences and building to conversations about race, class, and relationships. MEDICINE FOR MELANCHOLY avoid the pitfalls of most indie, dialogue-based films and boasts a high level of style. Jenkins and his director of photography, James Laxton, have made a feature with gorgeous cinematography and a nice post-production use of desaturation, which gives the film a muted look. The high quality of the film continues with the cast. Heggins is strong as Jo, and her chemistry with Cenac deserves praise. Though Cenac is best known to date for his work as a comedian, he’s equally adept with both the comic and the dramatic moments in the film. Like BEFORE SUNRISE transplanted to aught-era San Francisco and given a political bent, MEDICINE FOR MELANCHOLY is an authentic picture of two strangers struggling to see if they can be something more. [More]
Starring: Wyatt Cenac, Tracey Heggins
Starring: Wyatt Cenac, Tracey Heggins
Director: Barry Jenkins
Director: Barry Jenkins
Screenwriter: Barry Jenkins
Producer: Justin Barber
Studio: IFC Films
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Reviews for Medicine for Melancholy
This is not a bad film by any stretch of the imagination. But there's really not enough here to remain memorable.
Writer-director Barry Jenkins demonstrates a rare ability to communicate a state of mind through images.
It's pretty in all the wrong ways: pretty slight, pretty preachy and pretty affected.
A shoegazing arthouse romance marked by naturalistic performances and a commitment to the beauty, tenderness and on-tenterhooks hope of everyday reality...
It's an unassuming little piffle that wafts away while you're watching it.
A hazy, nuanced and remarkably assured debut from filmmaker Barry Jenkins.
Smart, funny, and visually gorgeous, with the intimacy of a relationship drama and the resonance of a city portrait.
A genuinely heartwarming, tender and wise slice-of-life that makes for a terrific, engrossing and refreshingly unpretentious date movie.
Nothing momentous happens -- nor do we expect it to -- but it is fun watching the two 20-somethings playing off each other.
Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
The film weaves an intriguing commentary on race, class and personal identity, but the trick of minimalism is to hide ideas inside sparse scenes, and Jenkins is too often balancing over-stuffed conversations with undernourished carousel rides.
Two African-Americans together in San Francisco for a weekend trying to take a one-night stand to a more intimate level.
Concluding on a fittingly less-than-happy note, the promising but uneven film knows what it wants to say, if not, ultimately, exactly how to say it.
It is an exciting debut, and a film that, without exaggeration or false modesty, finds interest and feeling in the world just as it is.
I'd describe it, in fact, as a film that doesn't quite work -- but the way it doesn't work is so distinctive and so interesting that it marks Jenkins as an exciting new face on the American indie scene.
This meandering two-hander about a black couple hanging out after a one-night stand has its points, but indie self-indulgence and sluggishness weigh it down.
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