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Let's be realistic.

Great Film overall

This movie was so-so. It had it's moments, but wasn't the greatest.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Without condemning the whole mumblecore movement, I think I sympathise more with its critics than its fans. The films certainly convey relationships between their characters realistically, and there are some scenes in each mumblecore film I've seen which I could almost recognise for myself, but I'm always overwhelmed by this slightly smug self-awareness that pervades many artists working under the 'indie' banner. It is easy to believe that the makers of these films are very similar to their characters – young, confused, directionless – but the fact that the focus most often falls on the progeny of the last bourgeois generation takes away the integrity of this gritty, frugal filming style.Mutual Appreciation is as much a milestone of indie film-making as it is a victim of its own pretences. The observer paradox seems to pervade much of the dialogue, much of which feels calculatingly awkward – it is easy to distinguish between the improvised lines and premeditated lines. Having said that, I was struck by one scene where Alan is besieged by with women at a 'party' he wasn't certain about going to in the first place, and is eventually convinced to don a dress and make-up. Here it seems the actors were given the most room to ad-lib, and it's a brilliant piece of footage which seems to speak to the majority of young adults and their issues with projecting identity.

I don't know why people insists on labeling things (films, albums, etc.) like this. Can't we just like or not like a movie? I really enjoyed Mutual Appreciation. If I had to judge it for its allegiance to my generation - which is zero, by the way - then I probably would find it lacking in many respects. but that is not why i rented it.I loved the shooting, the editing & the acting. i thought the acting was great and natural with a touch of arrogance which went with its characters.great job! fun stuff.

I haven't seen this director's first film, the 2002 Funny Ha Ha, but I'm already a fan, if a mild one, from this second effort. It's enjoyable to watch the quiet textures of ordinary young adult American life that Andrew Bujalski weaves, because his people talk in ways that are both witty and remarkably believable, even if the rhythms are mostly lackadaisical. "If John Cassavetes had directed a script by Eric Rohmer," Variety's Joe Leydon has written, "the result might have looked and sounded like Mutual Appreciation." That indeed does give you a starting point for understanding what Andrew Bujalski (a Harvard film graduate, now thirty-one) is up to, except that these aren't Seventies American actors or later French ones, but mostly twenty-something American non-actors, and the result of the blending of methods and interests of those two older directors is different, of course, from either Rohmer or Cassavetes. Bujalski's film is grainy black and white, the look is rough, the scenes are improvisational and vérité. The topics and the conversations are delicate, however, like Rohmer's; there aren't any long harangues or violent arguments or tortured late-night epiphanies as was Cassavetes' way. Attractions, desires, choices – no huge dramas. There's really just a triangle, two male friends and the girlfriend of one of them. The boyfriend is Lawrence (Bujalski himself); the girlfriend is Ellie (Rachel Clift). The other guy is Alan (Justin Rice, in real life founder of the indie-rock band Bishop Allen), who's just come to town (NYC, i.e., Brooklyn), whose band has split up, and who wants to get started again. Alan has an interview of radio, and the host, Sara (Seung-Min Lee) later hits on him. During the course of the action, at several times when Lawrence is away, Alan and Ellie acknowledge that they "like" each other. They have a "moment," as they say. But they don't do anything about it, as far as we see (the scenes are chopped off at the ends almost every time; that's the style). They both separately tell Lawrence about their "moment." Some consideration of gender roles comes up when Lawrence agrees -- very half-heartedly -- to participate in a reading of women's experiences with men; and when Alan is talked into putting on a dress. The trio of lovers and friends acknowledge the temptation to infidelity that has happened and end with a group hug. That's all that happens in the 109 minutes. There's a hand-held camera, the grainy look of 16 mm., but Bujalski doesn't revel in the richness of black and white as Cassavetes' cameramen did. There's nothing particularly cinematic about Bujalski's method, which also has little to do with politics or current events or trends – except for the presence of cell phones. There are hardly any exterior shots. But something magical does happen in the way Bujalski and Rice and the other main characters, who aren't particularly photogenic, to put it mildly, start to look good to us, because the inner beauty of their natures – Alan's openness and positivity; Lawrence's sensitivity and goodness – gradually emerges from the thick grain. Because Bujalski's kitchen-sink use of awkwardness is so adept, it almost disappears. The pace is sometimes excruciating, but in a way this isn't a movie; it doesn't feel like one; and that's not so bad. What makes the movie a success is the naturalness doesn't seem forced or self-conscious. The people aren't actor-y like Cassavetes and his pals. Their conversations are choppy and awkward sometimes, but alert, even witty. These aren't Actors Studio-style tortured-intensity Stanislawski moments, but remarkably believable recreations of twenty-first-century, twenty-something American conversations. Bujalski's characters, as his Wikipedia bio says, are "well-educated, yet socially inept young white people." The scenes, which include a show at a club that's not very well attended, and a little gathering at an older man's house afterward followed by another dying party of three women in wigs who dress Alan in drag, and phone conversations between Alan, the singer, and his father (one of them to voice mail, while Alan strums his guitar and doesn't answer), have a documentary feel, but it's a documentary that's niftily edited, about people observed so nicely you end by liking them. In limited release. Seen at Cinema Village NYC September 18, 2006.

I haven't really seen a film like this before. Really raw, somewhat rambling, confusing and wonderful. I have never been so pulled in. God, I hope this is the future of film. Enough already of Pirates and Snakes on a Plane.... This held such power. All in it being understated and real. I don't often come here to write on films I've seen, but when a movie sticks with me for a good five days, that's my signal to get onto the IMDb. I also just watch the movie DIG! about the Brian Joenstown Masacre -- I went out and bought a double best of album....M.A. has great music too So, If you like rough-around-the-edge,s realistic film-making, go. Now. This is the real deal. Bobbi Stig