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Some Days are Better Than Others2010

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  • 3.7
SOMEDAYS ARE BETTER THAN OTHERS is Matt McCormick's poetic, character-driven debut feature-length film that asks why the good times slip by so fast while the difficult times seem so sticky. The film explores ideas of abundance, emptiness, human connection and abandonment while observing an interweaving web of awkward characters who maintain hope by inventing their own forms of communication and self-fulfillment.

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"Featuring indie godheads James Mercer (The Shins) and Carrie Brownstein (Sleater-Kinney), SOME DAYS brings a Northwestern sensibility to the SLACKER genre." - Cindy Widner, The Austin Chronicle


4 members like this review

I found this to be a perfect story and a perfect film, impressively cast and nicely contained within the director's vision. The framework is key, not only in every shot, but in the characterizations as well and it is rather ingenious. Yes, the dialogue is slow, yes, the characters are flawed, but that's not at all the point. These are some rather perfect tiny worlds, assembled with great care and juxtaposed with a tender mercy for the fragility of human kind. Mercer's Eli is rather spectacular and I hope we see much more of this actor, as well as the intricate subtlety of Brownstein's Katrina. Either this director knows a lot about acting, or he was fortunate enough to find some really good artists to tell this story. The script was vague, yet never dry, and very full of life. I am very much a fan of Altman's earlier works, Three Women, Nashville, and he would have been quite proud of this director's ability to weave the abstract human condition into such a multi-layered visual experience. I loved this film from start to finish and within the silence of Camille, I found art screaming. More so, the director sees life clearly through the eyes of an artist and shows us just what that sort of Reality is, as if told by a master poet. I will look forward to seeing more from this very talented director, cast and crew. Bravo.

98d4c4f6fde383c25da5aaa299b963a3?default=https%3a%2f%2fd3uc4wuqnt61m1.cloudfront.net%2fassets%2favatars%2fmale%2favatar m 0016
top reviewer

Member Reviews (7)

98d4c4f6fde383c25da5aaa299b963a3?default=https%3a%2f%2fd3uc4wuqnt61m1.cloudfront.net%2fassets%2favatars%2fmale%2favatar m 0016
top reviewer

I found this to be a perfect story and a perfect film, impressively cast and nicely contained within the director's vision. The framework is key, not only in every shot, but in the characterizations as well and it is rather ingenious. Yes, the dialogue is slow, yes, the characters are flawed, but that's not at all the point. These are some rather perfect tiny worlds, assembled with great care and juxtaposed with a tender mercy for the fragility of human kind. Mercer's Eli is rather spectacular and I hope we see much more of this actor, as well as the intricate subtlety of Brownstein's Katrina. Either this director knows a lot about acting, or he was fortunate enough to find some really good artists to tell this story. The script was vague, yet never dry, and very full of life. I am very much a fan of Altman's earlier works, Three Women, Nashville, and he would have been quite proud of this director's ability to weave the abstract human condition into such a multi-layered visual experience. I loved this film from start to finish and within the silence of Camille, I found art screaming. More so, the director sees life clearly through the eyes of an artist and shows us just what that sort of Reality is, as if told by a master poet. I will look forward to seeing more from this very talented director, cast and crew. Bravo.

4 members like this review
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top reviewer

I’m growing just a tiny bit bored with slow-moving indies with a cast of disaffected hipsters. That isn’t all this is, of course, and they do it well (and they did it a while ago), but still it’s hard to care a whole lot. The dialogue has about as much energy as a business luncheon. The cinematography is also pretty typical of this sort of thing; long shots of dismal bridges can also get a bit glum. Don’t get me wrong, I don’t need Matt Damon blowing shit up and driving cars off bridges, but something does need to happen that matters to me. Even the urn story felt meaningless. Lady finds urn, urn makes her sad, system lets her down. You got dogs in cages, people “trapped” in crappy lives, empty homes, buildings being torn down and abandoned urns. Bleak, indeed.

T’wasn’t all bad. I didn’t turn it off. Katrina was sadly compelling. Eli just needs a swift kick in the ass. No, I’m not going to say that I’d rather watch the soap film. Maybe they should have focused more on the dude who stole the booze. He had some energy – enough to steal the booze and then, what, walk home? That’s got potential. And maybe he could kill the jerk who was in charge of the moving van. He needs to die a fiery death - maybe off a bridge.

1 member likes this review
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top reviewer

Slow moving sensitive film that takes some patience/the right mood to enjoy. Fine product.

Rather sad.

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top reviewer

50/50_sometimes yes sometimes no_it was all sort of annoying at first_then i got to like some of it_Katrina is just tiresome_sorry / but there are moments of light & cool_so it's ok

The film is not creative. It relies on a select audience that the filmmaker himself is obviously a part of. The filmmaker did not take any creative chances here, so it renders as meandering and tedious.

Wow. This film is SO much like Miranda July's "Me and You and Everyone We Know". Feels like the filmmaker just watched that film a bunch of times and tried to replicate it with a few differences. This isn't a terrible film, but if you've seen "Me and You...." you don't need to watch this one.

Great Indie!