He’s more a kid in over his head than a young person disturbed by encroaching consumerist adulthood. Robert doesn’t have quite the same lost teenage ache as Enid in Ghost World. (Clowes isn’t name-checked in Funny Pages the characters are so richly imagined that it’s easy to extrapolate that Robert, a big fan of Peter Bagge, might find Clowes’ work too respectable or intellectualized in comparison to his heroes.)
The harried, handheld-shot chaos sometimes comes across affected and secondhand, with bursts of violence that feel obligatory, and more appropriate to those crime-driven Safdie movies.įans of comics-to-movie adaptations, though, may see Funny Pages as more akin to Ghost World, the Daniel Clowes adaptation that also featured a character fascinated by the oddballs (and potential artistic inspiration) around her.
#Fb funny pages movie#
There are certainly aspects of Funny Pages that recall the tension of Safdie-helmed comic nightmares like Uncut Gems or Good Time, particularly as the movie reaches its climax. Kline has cited the influence of mumblecore/indie movies like Frownland from Ronald Bronstein, who went on to co-write movies with the Safdie brothers ( Uncut Gems) - who in turn produced Funny Pages. But to whatever extent Kline has leveraged his industry connections, he’s used them to create something both grabby and grubby, shooting on grainy 16mm and giving juicy roles to actors who don’t look like overly polished movie stars. Now, his first feature as a writer-director is coming out through prestigious distributor A24, as the nepotism cycle churns on. He’s the son of actors Kevin Kline and Phoebe Cates, and he played the younger brother in Noah Baumbach’s 2005 movie The Squid and the Whale. Writer-director Owen Kline has good reason to know about developing a distinctive, alternative artistic sensibility while trying to shake off upper-class respectability. But he ensures that the process does not go smoothly. Befriending him should be easy - Wallace needs money, rides, and, it seems, emotional support. Seeking both authenticity and, paradoxically, some kind of industry connection, Robert gloms onto Wallace.
More surprising, Wallace used to work in comics he was a color separator for Image back in the company’s high-flying superhero ’90s. Like so many other characters in the movie, he looks like a living caricature, like someone from the margins of a Daniel Clowes comic. Wallace holds dual fascination for Robert. That’s how he meets Wallace ( Our Flag Means Death star Matthew Maher), a seemingly unbalanced crank who has been charged in a case where he flipped out at a local pharmacy. He leaves home, obtains the best living situation he can afford (sharing an illegal basement apartment with two adult men), and gets a part-time job taking notes for a beleaguered local public defender. When Robert loses this guiding figure early in the film, he becomes even more disillusioned with his cushy suburban lifestyle and decides to strike out on his own. Robert’s high school art teacher and mentor is such an underground-comix aficionado that he looks as if he crawled straight out of a sketchbook and into the flesh. (One of them is played by former MTV comedian Andy Milonakis.) It’s dingy, packed with haphazardly stored back issues, and populated by assorted (and often malcontented) fans, aspiring artists, and weirdos.
#Fb funny pages professional#
Robert (Daniel Zolghadri) is a New Jersey teenager obsessed with becoming a professional comics creator, and the comics shop where he hangs out and works part time isn’t a slick monument to the latest high-end superhero collectibles and attractively bound graphic novels. Owen Kline’s memorable, sometimes hilarious movie Funny Pages understands this to such a degree that it isn’t immediately obvious that the movie is set in the immediate present. Crumb or Carl Barks than Stan Lee or Jack Kirby. That’s especially true for titles outside of the Marvel/DC axis of superheroes, and even more so for cartoonists whose work is more inspired by R.
#Fb funny pages tv#
Because comic books currently inspire many of the most globally popular movies and TV shows, it’s easy to forget that the original medium - individual comics issues, most commonly found in specialty shops - remains a relatively niche interest.
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