Excellent, Without a doubt!!

Did you people see the same film I saw?

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

I couldn't see it through to the end.Being a typical ex-smoker, I hate smoking. Right from the start, I was bitterly reminded of the horrible dark days of sore throats and sickness from the incessant smoking by the main characters. The very real hacking coughs of the main characters were sickeningly, and I had to stop watching before I puked from the horror of it.Sorry, such crassness cannot be excused as in any way artistic.Mind you, if you are thinking of giving up the smokes, I recommend you watch.Might just be the best stop smoking cure ever.

This is a miserable movie about the miserable movie star life of a miserable movie star. It's deliberately confusing and unintentionally confused. The script strives for sarcasm and sympathy in equal measure, but achieves only indifference. The direction is equally undecided. The acting is okay, yet watching Giovanni Ribisi's performance is like looking at a man struggling on a Stairmaster set at the highest level; there's a lot of obvious effort but he never goes anywhere. This film has nothing to say and makes a convoluted production out of not saying it.Gray Evans (Giovanni Ribisi) is a movie star. He has a hot blonde movie star wife (Franka Potente), a perky assistant (Judy Greer), a private investigator (Jared Harris) and various other ass-kissing associates and "friends". He's also desperately unhappy with himself and pretty much everything in the world, except for his dreams/daydreams/hallucinations of a girl named Shana (Christina Ricci). He's also paranoid about both a possible stalker (Jason Lee) and his wife getting hit on by Elvis Costello. Gray wanders into an independent video store one day and becomes "John Hinkley loves Jodie Foster" obsessed with a perfectly normal couple (Joshua Jackson and Marisa Coughlan). Gray gets more and more disturbed and things end tragically.You may have noticed that my description of I Love Your Work's plot doesn't actually contain a lot of, you know, plot. That's not a mistake. There are things that happen in the film. They just don't connect together or add up to lead in any narrative direction or toward any thematic conclusion. All it has is a generalized antipathy for the realities of celebrity without actually being honest about any of those realities.I'm not sure, but I think this story is supposed to be about how the pressures of stardom destroy Gray Evans heart and mind. I'm not sure about that because there's no connection ever made between the two. The movie highlights the unpleasant aspects of fame and Gray displays a bucketful of emotional problems, yet it never manages to explain or demonstrate how the former caused the latter. It seems like Gray would have been just as screwed up as a grocery clerk or a stock broker.I Love Your Work has no idea if it's about Gray Evans the man, Gray Evans the movie star or Gray Evans the victim of movie stardom. It's also at least 15 to 20 minutes too long and has an ending that is wrongly hilarious no matter how you look at it. Either these filmmakers were trying to be funny even though it is completely inappropriate for the story they're telling, or they were trying to be poignant and botched it so badly it would get a belly laugh out of the couple from American Gothic.If you're a struggling actor and filmmaker and would be comforted at the thought that the folks more successful than you are awful wretches leading lives of bitter torment, you might enjoy this movie. Everyone else would probably be better off polishing up their Sudoku skills.

The life of the so-called celebrities is at the center of this film. Adam Goldberg, an actor himself, directed and contributed to the screen play. It's a good thing he decided to stay behind the camera this time, something other novel directors don't seem to understand in their attempt of making their own statement in the movies.Gray Evans, appears to be a paranoid actor. On the one hand, he welcomes his status as a leading man in the business. On the other, he sees stalkers with most of the people he comes in contact. Gray, who is married to his idol, Mia, an actress, who he has greatly admired before their marriage. Mia is the source of what appears to be his own self-destruction. After all, how many premieres and red carpets can one take and still stay sane? Gray, who can't walk the Los Angeles streets without being recognized, suspects one of his fans for stalking him. The casual visit to a book store puts him in contact with a man who he also suspects is the source of all the bad publicity about him that starts appearing in the tabloids. The gossip is that his marriage is about to end. Gray also starts reflecting on his past relationship with the mysterious Shana, as he mixes reality and illusion. He has to rely on an Israeli security man named Yahud to protect him from the danger lurking outside.Giovanni Ribisi, who plays Gray, is a young actor who has proved he has what it takes to do good work. His work suffers because of the demands on his playing his obsession. Franka Potente, a good German actress is seen as Mia, the object of Gray's affections. Jared Harris has some good moments, ditto Joshua Jackson, and the rest of the cast. Vince Vaughan and Elvis Costello appear as themselves.Perhaps Mr. Goldberg will find the right material on his next time directing.

Fearing he is being stalked, a film star not so slowly becomes his own worst nightmare and no one seems to care. With no stakes at hand, -- until the only-slightly tense last ten minutes -- no character provides opposition, no character is challenged. This vital conflict seems to be left to the unfortunate viewer who must fight to stay seated. Giovanni Ribisi and a host of other very talented actors try desperately to drag the broken pieces of this pathetic story into view. When it is not necessary for Ribisi to dramatize his unhappy character's descent into madness, his face continues to read, "Someone, please, get me out of this picture!" There are far too many characters and, worse, the characters sometimes exchange roles, to illustrate the film star's confusion and significantly add to the viewer's. The director's ambitious intent seems to be to create an extended Twilight Zone episode, dark, twisted, moral, and full of cheap effects. It never quite works, though there are a few, small moments of disconnected pleasure drawn from the incomparable Ribisi's pained performance and bits of his numerous but admirable supporting players' equally extraordinary commitment. I Love Your Work might go over well in Sweden, where audience distress is sometimes considered evidence of art.