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Welcome To The Riley's Official Trailer and Poster Germany
In theaters: 7th April 2011
I Love Welcome to The Riley's So Much
Kristen's Performance is Powerful and Truly Dynamic
If you haven't seen WTTR Yet i Highly Recommend YOU DO
Arsenal Film
Welcome to the Rileys Review by Roger Ebert
"Welcome to the Rileys" takes two old plots and makes a rather touching new plot out of them. What we’ve seen before is (1) the good man who hopes to redeem a prostitute, and (2) the frozen suburban couple who find new hope in their marriage. The film involves such characters in a story that is a little more real and involving than we expect.James Gandolfini stars as Doug Riley, an Indianapolis plumbing supplies contractor. His wife, Lois (Melissa Leo), hasn’t been able to leave their house in years. He’s having an affair with Vivian (Eisa Davis), a black waitress at a pancake house, and their two brief scenes together show enormous warmth. He isn’t ready to leave his wife, however, perhaps because he knows she would not survive alone. Their daughter was killed at 15 in a car crash.
Doug goes to New Orleans for a convention, is depressed, wanders into a stripper bar and finds himself through no desire of his own receiving a hard sell from Mallory (Kristen Stewart). He doesn’t want sex. He wants to talk. She thinks he’s crazy. She is worn and wounded, hostile and vulnerable. He drives her home and ends up fixing her plumbing, cleaning her shabby shotgun house and offering her $100 a day to stop hooking.
We think we see where this will lead. That’s not where it leads. Ken Hixon’s screenplay deliberately avoids most of the obligatory dialogue in a situation like this and throws some curves at us. One of the surprises involves Lois. Mired in deep depression, Doug decides with a jolt to sell his business and stay in New Orleans. When he informs Lois, she finds the courage to leave her house and drive herself down to New Orleans.
Now watch how she reacts to the reality of her husband’s relationship with Mallory. This involves good writing and acting. Lois is a grown-up. She isn’t jealous; she’s more concerned that he’s crazy. He isn’t defensive; he’s matter-of-fact. This is Mallory, she’s a 16-year-old runaway, he’s helping her, she doesn’t want help. That’s how it is.
It’s such a relief to be spared the usual cliches here and observe how Leo so convincingly channels a woman’s mothering instinct. It’s good, too, to see how director Jake Scott uses the physical presences of his well-cast actors. Stewart here is far from the porcelain perfection of the “Twilight” movies, and it’s a relief to see that it is, after all, physically possible for a teenager to have complexion problems in a movie. Leo is worn out by loss and worry, but smart and kind.
And look at what Gandolfini does. He’s a mountain of a man, but gentle, not threatening. In terms of body language, he establishes his character in a scene where he crawls into bed with his wife, and the mattress sags and he burrows into his pillow and looks — comfortable. When he smokes, his huge hands dwarf his cigarette. (There’s a subtle tweak: He uses regular cigarettes, not king size, because they make his huge hands look even larger.)
I was struck at once by the uncanny accuracy of his central Indiana accent. I grew up in Downstate Illinois hearing men speak exactly like him. A kind of firm, terse understatement, on a flat, factual note. I could close my eyes and imagine one lifelong friend in particular. Going online, I found that the coastal critics as a group thought he was using a Southern accent, “for some reason.” They’ve never been to the Midwest and possibly never to the South. We all sound the same to them. Gandolfini has the accent spot on, and it’s certainly not one that we’ve heard before from him.
“Welcome to the Rileys” does a convincing job of evoking its New Orleans locations. Mallory’s house is messy and forlorn. Her street is depressing. The city at night seems a contrast between artificial merriment and loneliness, and more evocative than another city known for sin, Las Vegas.
What happens among the three people I will not say. The film introduces them, makes them plausible and then what happens is pretty much what might happen. These people haven’t studied up on their archetypes. Each one is doing the best possible, under the circumstances.
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Review: 'Welcome to the Rileys' is "Challenging and Provocative"
“Welcome To The Rileys,” is a stirring drama about three people’s journey through tragedy to a life filled with opportunity and optimism. Starring James Gandolfini, Kristen Stewart and Melissa Leo, the film tracks the life of married couple Doug (Gandolfini) and Lois Riley (Leo) as the struggle to overcome eight years of grief over the death of their teenage daughter in a freak car accident.
Lois thinks she caused the accident by being too overbearing a mother, and Doug does not disabuse her of that line of thinking. The two battle major depression and live like emotionally dead zombies until they meet the 17-year old stripper named Mallory (Stewart).
While at a business convention in New Orleans, Doug wanders into a strip joint ahead of his colleagues and encounters Mallory, who propositions him like she’s been working the streets for over 10 years, which is possible given her life story. Because Mallory reminds Doug of his deceased daughter in age and appearances only, he tries to take her under his wing and provide her with the parenting she clearly never had.
Their relationship causes strain in Doug’s marriage, but forces Lois out of the catatonia she’d found herself in.
The Riley’s experience with Mallory reinvigorates their relationship and puts both them and Mallory on a new path for living.
Scripted by Ken Hixon (“City by the Sea” and “Inventing the Abbotts”),“Welcome To The Rileys” skillfully navigates the dark underside of post-Katrina New Orleans and the child sex-trade, delicately peppering the film with humor as it ultimately drives the film’s theme home.
While the film may prove too dark and gritty for Stewarts male fans, her female fans are sure to appreciate her work in this challenging and provocative role. After rapping up her stint as Joan Jett in “The Runaways,” to prepare for her role as a stripper and child prostitute, Stewart took pole dancing lessons, visited strip clubs and didn’t wash her hair for five weeks. Her appearance was so convincingly trashy, she said, that when she walked into a club off Sunset Boulevard, the owner offered her a job. The actress persuaded him to let her talk to the dancers to get insight about their lives.
“The only thing that I can figure out is that something most of the time was taken from them,” she said. “Like, you can’t hurt me more than I’ve already been hurt. And you can’t abuse me more than I abuse myself every day, so I’m gonna take from you. I’m gonna take your money.”
Director Jake Scott, who snagged Stewart before she began filming “Twilight,” says Stewart was right for the lead. “What I got from her in that movie was this vulpine, wily, kind of fox-like quality,” he said. “She’s got a way of looking at people that I found really compelling.” Stewart “has become more confident in the two years he’s known her and hasn’t let celebrity warp her identity,” he added. “She’s still Kristen to me — this kid from the Valley who’s into Van Morrison and watching movies and hanging out,” he says.
via: source / via
Lois thinks she caused the accident by being too overbearing a mother, and Doug does not disabuse her of that line of thinking. The two battle major depression and live like emotionally dead zombies until they meet the 17-year old stripper named Mallory (Stewart).
While at a business convention in New Orleans, Doug wanders into a strip joint ahead of his colleagues and encounters Mallory, who propositions him like she’s been working the streets for over 10 years, which is possible given her life story. Because Mallory reminds Doug of his deceased daughter in age and appearances only, he tries to take her under his wing and provide her with the parenting she clearly never had.
Their relationship causes strain in Doug’s marriage, but forces Lois out of the catatonia she’d found herself in.
The Riley’s experience with Mallory reinvigorates their relationship and puts both them and Mallory on a new path for living.
Scripted by Ken Hixon (“City by the Sea” and “Inventing the Abbotts”),“Welcome To The Rileys” skillfully navigates the dark underside of post-Katrina New Orleans and the child sex-trade, delicately peppering the film with humor as it ultimately drives the film’s theme home.
While the film may prove too dark and gritty for Stewarts male fans, her female fans are sure to appreciate her work in this challenging and provocative role. After rapping up her stint as Joan Jett in “The Runaways,” to prepare for her role as a stripper and child prostitute, Stewart took pole dancing lessons, visited strip clubs and didn’t wash her hair for five weeks. Her appearance was so convincingly trashy, she said, that when she walked into a club off Sunset Boulevard, the owner offered her a job. The actress persuaded him to let her talk to the dancers to get insight about their lives.
“The only thing that I can figure out is that something most of the time was taken from them,” she said. “Like, you can’t hurt me more than I’ve already been hurt. And you can’t abuse me more than I abuse myself every day, so I’m gonna take from you. I’m gonna take your money.”
Director Jake Scott, who snagged Stewart before she began filming “Twilight,” says Stewart was right for the lead. “What I got from her in that movie was this vulpine, wily, kind of fox-like quality,” he said. “She’s got a way of looking at people that I found really compelling.” Stewart “has become more confident in the two years he’s known her and hasn’t let celebrity warp her identity,” he added. “She’s still Kristen to me — this kid from the Valley who’s into Van Morrison and watching movies and hanging out,” he says.
via: source / via
