Rob Brydon

Here’s another “movie” from Britain that without a touch of pomp or pretension seeks to ask us, “Well, why in hell do you think you know what a movie is, or has to be?” Since nearly anything could serve and function within the gloriously loose structure of The Trip, I found myself hoping that its two guys might find one of their conversations leading into a lugubrious consideration of what Terrence Malick thought The Tree of Life was really about.

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IF THERE IS A HEAVEN FOR COMIC iconoclasts, Laurence Sterne is leaning out of it, smiling. The film made of his novel Tristram Shandy—more properly, the film instigated by his novel—has caused a stir because it juggles cinematic conventions just as he gamboled with the conventions of the novel.   However, as he views things from his present perch, Sterne can see that, unlike his own daring, this picture had predecessors in wry film-consciousness.

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