Take This Waltz


Comedy / Drama

Rotten Tomatoes Critics - Certified Fresh 77%
IMDb Rating 6.6 10 25,717


Downloaded 18,079 times
April 3, 2019



Luke Kirby as Marco
Michelle Williams as Ellen Vidales
Sarah Silverman as Alexi Darling
Seth Rogen as Herschel Greenbaum / Ben Greenbaum
720p.BLU 1080p.BLU
991.14 MB
23.976 fps
116 min
P/S N/A / N/A
1.86 GB
23.976 fps
116 min
P/S N/A / N/A

Movie Reviews

Reviewed by ferguson-6 7 / 10 / 10

Tastes Like Chicken

Greetings again from the darkness. We have watched Sarah Polley grow up on screen. She began as a 6 year old child actress and evolved into an indie film favorite. Now, she is finding her true voice as a film director ... and what a unique voice it is. In Away from Her (2009), she told the heartbreaking story of a husband's struggle with losing his beloved wife to Alzheimer's Disease. Now we get the story of Margot, who just can't seem to find happiness or fulfillment within the stability of marriage. Margot is played exceedingly well by Michelle Williams. I would say that without the casting of Ms. Williams, this film would probably not have worked. There is something about her that prevents us from turning on her character when she veers from her loyal, if a bit lacking in passion, husband Lou (played by Seth Rogen). Williams and Rogen have the little things that a marriage needs ... a language until itself and the comfort of consistency. What Margot misses is the magic. She thinks she finds that in her neighbor Daniel, a rickshaw driver played by Luke Kirby. Daniel is the kind of guy that every guy inherently knows not to trust, yet women somehow fall for. He is a subtle and slow seducer. The kind that make it seem like everything is innocent ... right up until it isn't. Margot has that most annoying of spousal traits: she expects everyday to be Disneyland. The best scene in the movie occurs when Lou's sister (a terrific Sarah Silverman) confronts Margot and tells her that life has a gap and that you will go crazy trying to fill it. It's a wonderfully insightful line from writer/director Polley. Of course, we understand that this is Margot's nature and she learns that sometimes broken things can't be fixed. Another great scene occurs in the women's locker room after water aerobics. There is a juxtaposition between generations of older women and younger ones. We see the differences not only in physical bodies, but in the wisdom that comes with age. More brilliance from the script. The one scene that I thought crossed the line was the "martini" scene. I found it tasteless, vulgar and far more extreme than what was called for at the time. But that's a small complaint for an otherwise stellar script. As terrific as Ms. Williams and Ms. Silverman are, I found Seth Rogen to be miscast and quite unbelievable as a focused cookbook writing guy who has pretty simple, yet quietly deep thoughts about how a marriage should work. Again, this didn't ruin the film for me, but I did find him distracting and quite an odd choice. It's filmmakers like Sarah Polley that keep the movie business evolving. Her viewpoint and thoughts are unique and inspirational, and should lead to a long career as a meaningful writer/director. Oh, and the use of Leonard Cohen's "Take this Waltz" song fit right in over the credits.

Reviewed by Movie_Muse_Reviews 4 / 10 / 10

You might not agree with what it has to say, but Polley has made a bold and impressive film

Common terms associated with movies about infidelity would be "lust," "passion" and "betrayal," yet all those things are suspiciously absent from Sarah Polley's infidelity drama, "Take This Waltz." Her film is about as anti-soap opera as you can get — careful to avoid melodrama and dedicated to sidestepping any and all conventional depictions of adult relationships in film. It seems odd to call Polley bold for showing it like it is, the way that she drags us through the head of her main character, Margot (Michelle Williams), who so undeniably loves her husband, Lou (Seth Rogen), yet cannot deny her feelings for Daniel (Luke Kirby), a man she meets while away for work who turns out to be her neighbor. However, when it comes to filmmaking, anything that deviates from Hollywood reality can make an audience uncomfortable, so it takes some guts to ignore that filmmaking impulse. Consequently, a good chunk of viewers will be turned off or frustrated by "Take This Waltz," losing patience with the inaction of its characters and pulling their hair out over the tension oozing out of the most casual character interactions. Yes, "Take This Waltz" can be so uneventful that it verges on pointless, but in time Polley's intentions become very clear. As Margot and Daniel get closer, they don't really get closer, and as Margot and Lou drift apart, they actually come off as in love as they've ever been. For much of the film, it's in Margot's head that the cheating is actually happening. Her thoughts and actions are not in sync and it becomes extremely difficult for us to find empathy for her because we feel as though she needs to act on her feelings, to either voice her displeasure to Lou or throw herself at Daniel. That's the Hollywood impulse calling. Polley continues to resist, and as challenging as it becomes to watch at times, her film comes out better for sticking to its convictions. As she clearly intended, a switch flips in a scene in which Margot and Daniel ride an indoor Scrambler as "Video Killed the Radio Star" plays, an in the loopy chaos of the scene, we (and Margot) find a certain clarity in understanding what's going on between the main characters. There's a definite phantasmagoria to Polley's style as well that while visually engaging contrasts a bit with what's otherwise such a nuanced, completely believable film. Several scenes play out like dream sequences, but we later can confirm they actually happened. She seems quite content to toy with our expectations and challenge what we think we know to be true about how love works. You couldn't cast a better actress than Williams with a performance that's so hard to pull off. We only identify with Margot because we see her humanity, but it's tough to understand her and in some cases even like as a third-party observer of her story. Williams should be lauded for volunteering for this experiment and selling it as well as she does, especially when you consider that Kirby is a total unknown and Rogen is a poster child for modern comedy, for formulaic comedies that are such a far cry from "Take This Waltz." The end of the movie is bound to bother a lot of people, while others will be intrigued at the choice and make peace with what Polley has to say because she frankly makes a good argument. Fidelity gets such a black-and-white portrayal in film and television, though maybe that's a societal thing because of its prominence in religious code. Nevertheless, she utilizes every tool at her disposal to present the gray area that we so quickly jump to deny and shudder to embrace. It's tough to really enjoy a film that doesn't emotionally click, in which we don't feel with our hearts that things should've turned out how they did, but Polley has such a beautiful directorial style and conveys her intentions so clearly that "Take This Waltz" warrants a certain degree of respect for its bold yet so honest and impressively perceptive take on love. ~Steven C Thanks for reading! Visit moviemusereviews.com for more!

Reviewed by MBunge 4 / 10 / 10

Proves that Seth Rogan can act, but that's about it.

Writer/director Sarah Polley makes things perfectly clear from the very beginning of Take This Waltz. As Michelle Williams and her feet shift in and out of focus while making blueberry muffins during the opening credits, I felt like Polley was speaking directly to me. She was saying "I have no interest in entertaining you. I made a film that satisfies my creative vision and if you enjoy it, great. If not, suck it". I liked Polley's take on how the desire of the moment transforms into the reality of the rest of your life. Williams and Sarah Silverman get gratuitously naked, which is always welcome. Seth Rogan also demonstrates that he could be a pretty good dramatic actor if he worked at it. Everything else about this movie left me sucking it. Margot (Williams) and Lou (Rogan) are a young married couple who are very much in love, but Lou no longer fulfills Margot's yearnings for passion and won't give her a child as compensation. Enter Daniel (Luke Kirby), a young artist/rickshaw driver who Margot meets and flirts with on a plane and then turns out to live right across the street. As Margot and Daniel slowly dance the dance of seduction around each other, the seams of Margot and Lou's marriage even more slowly split apart. Margot eventually leaves her husband and, in what is absolutely the best part of the story, we see that her "happily ever after" winds her up in exactly the same place she was before. The montage where Polley shows us how the burning lust of soulmates turns inevitably into tedious domesticity is some great filmmaking. That sequence alone justifies her as an artist. Another montage where Rogan goes through 6 months of post-breakup emotions in one morning, however, shows that Polley has a long way to go as a craftsman. Take This Waltz is too long, too scattered and contains too much stuff that doesn't connect. Take the Rogan montage, which could double as his screen test for any dramatic role for which he might ever audition. Rogan does a nice job handling the acting up to that scene, but the limits of his skill show through in the montage. What is obviously supposed to be a defining moment in the film falls flat and what makes it worse is that the montage is superfluous. There's no need to feature the character of Lou so prominently. This is overwhelmingly Margot's story. No other character really gets that kind of showcase moment against Lou and he already has a smaller bit that does everything necessary to tug on the audience's heart strings. The montage doesn't pay off anything we've seen of Lou leading up to it. It doesn't lead to any plot or character moments after it. It's isolated and arbitrary and may very well have been inserted into the script for the sole purpose of enticing a star like Rogan to take an otherwise meager part. Another isolated and arbitrary scene is where Williams, Silverman and other women of various ages and shapes are showering together in a locker room. They're completely naked and there's nothing comedic or titillating about any of it. Polley is clearly trying to make some kind of statement about women's body types and the exploitation of female nudity in cinema. That statement has nothing whatsoever to do with anything else in Take This Waltz. The dialog from the scene could have been spoken in any other setting and neither female body issues nor meta-textual commentary of film are even vaguely alluded to in the rest of the motion picture. And while Polley does a good job at making Margot and Lou into reasonably believable human beings, Daniel is a construct. He has no thoughts, emotions or existence beyond serving the plot. Additionally, there's a subplot about Silverman's character being an alcoholic where Polley doesn't appear to understand the difference between being a drunk and having a mental illness, like bipolar disorder. Either that or alcoholism is simply illegal in Canada. Take This Waltz isn't a disaster. It did need someone to step in and persuade Polley to make it as a 40 minute long film festival entry. That didn't happen so I'd advise all but the most devoted lover of art house flicks to wait for the next dance.

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