Are You Here


Action / Comedy / Drama

Rotten Tomatoes Critics - Rotten 7%
Rotten Tomatoes Audience - Spilled 21%
IMDb Rating 5.3 10 12515


Uploaded By: OTTO
Downloaded 149,192 times
October 04, 2014 at 08:13 PM



Melissa Rauch as Marie
Owen Wilson as Steve Dallas
Amy Poehler as Terry Coulter
720p 1080p
818.14 MB
23.976 fps
1hr 54 min
P/S 1 / 13
1.65 GB
23.976 fps
1hr 54 min
P/S 2 / 19

Movie Reviews

Reviewed by maurice yacowar 8 / 10

TV weatherman and friends discover their more authentic selves

There's no question mark in the title Are You There because the question is the answer. Matthew Weiner's black rom-com is about characters who try to discover their authentic selves. To ask if how you're acting is the real you is to begin to discover who you are.

One striking scene visualizes characters living out of whack. TV weatherman Steve Dallas (Owen Wilson) lies sleeping on a sofa while all around him, at silent comedy speed, his best buddy Ben (Zach Galifianikis) races through a day or two of frenzied time killing. Combining a still and a fast-action within the frame is an emblem of living as a divided being.

Each character has a wide range of potential selves. The apparent ideal is the beautiful free spirit Erin (Naomi Lavette). She was married to the much older man whose funeral calls son Ben and buddy Steve out to Amish country. If Erin seems the stereotypical hippy she's a winning, warm embodiment. Though Steve once rails at her -- not entirely inaccurately -- for being a wispy tumbleweed, she brings Ben and Steve the stability they both need — in the conventional hippy free love kind of way. Her range is Mother Earth and Tumbling Tumbleweed.

Steve opens the film with an empty protestation of contentment. "Honest, every morning I wake up happy." This turns out to be a set speech he delivers to his every pickup, explaining why he enjoys being single…yet he always senses he might be missing something. By leaving that last door ajar he wins them all — and even gets the girls to pick up the tab when his plastic always fails. He is so locked in that routine he uses it on a call-girl, not the expected recourse of a swaggering local TV star.

The most dramatic discovery is Ben's. The family's black sheep doofus, he's a bipolar nut bar who indulges his every flush of impulsive egotism, however destructive. He ends up a sensible businessman with the integrity to fulfil his promise of giving Steve the huge farm he inherited and the courage to start a new, simple life, perhaps with the single mother Allie (Jenna Fisher) in his complex. Now his complex is a residence, something he can live in. The film closes on him musing on the connection between the Amish farmer with his one-horse wagon, and the plastic red horse Allie's little son is riding. The animal and the plastic here bespeak a simple genuine pleasure.

In minor key rediscoveries, Ben's sister Terri (Amy Poehler) mellows from litigious shrike, taking her sterility frustrations out on others, to a respectful sister, easing Ben back into the family. They tear down the past to build a more useful future. Sexy news anchor Victoria (Alana De La Garza) converts to off-camera wife and fidelity. Steve anoints his better qualified assistant Delia (Lauren Lapkus) as his TV successor. Although she's a meteorologist she still needs a boob job to get on camera. TV requires fakery. There's a telling moment when they slog through a remote hurricane story. Ben lolls in his chair, while Delia curls up asleep under the counter.

For all Steve's initial swagger he's clearly not at ease with himself. Erin diagnosis his veil of charm intended to prevent any real relationship. The old Steve plays cavalier at his job, arriving at the last minute, usually high. When to win Erin he goes straight, he abandons the fakery in his performance. Instead of losing his on-camera effectiveness he discovers he has an off-camera self. That works even better on-air and, more importantly, it sends him back to Erin and the farm. Reunited with Erin the ex-weatherman knows better than to come in out of the rain.

If the script went further perhaps the starstruck meteorologist Delia will some day see past her new boobs and look for her more authentic self. Self-discovery is a process, one misstep after another.

But that would be another movie. This one is quite rich and enjoyable enough. In fact, it doesn't deserve the reviewers' tepid reception. I think had it not been written and directed by the Mad Men whiz Matthew Weiner, it would have been more warmly embraced. Because it's so different, our expectations are disappointed and we conclude he went wrong. On the contrary, to his credit he slipped into a modern setting and a predominantly comic genre, and conceived a fine oddball cast of characters and some very funny lines and scenes. In its thematic concern with apparently gifted and successful people feeling hollow, craving more authenticity in themselves and in their lives, this film is clearly of a piece with his Mad Men. Weiner didn't sell out. He moved on. For more see

Reviewed by socrates99 8 / 10

What a beautiful little film

I don't recall ever hearing about this movie. Perhaps it was too steeped in 60's attitude for today's audiences. If so that is truly a shame because that probably means today's young people are too far removed from the era to understand it well. In today's world that is a great loss. If we could live as hippies attempted to back then, we'd be far closer to mitigating climate change than we are now and a large part of that lifestyle was the attitude. This movie captures that attitude beautifully.

Laura Ramsey as Angela, the young hippie step-mother, brought back memories for me about women who actually existed in those years, who would float through life elevating everyone around them like some magical earthbound angel. I suppose nowadays she seems implausible. But back then she was very possible and meeting someone like her was unforgettable. Ms Ramsey's depiction captures the type in a way I haven't seen done in a very long time. It was a pleasure to reacquaint myself with the woman she represents. In a lot of ways those flower children were more affecting than anyone I've met since.

The idea of the film apparently is to bring some of that ethos into the present. The two main leads, Owen Wilson and Zach Galifianakis, have no problem evoking the era and they do a splendid job. I thought both brought the right mix of humor and pathology to their parts. They seemed to understand what the movie was trying to convey, and they were quite successful for people like me. What's surprising is that younger people apparently don't get it and I don't quite understand why they wouldn't.

Amy Poehler is also in the movie but in an unattractive role. I still appreciated her contribution to the mix in what seemed like a risky departure from her usual performance.

The story revolves around two friends, pretty much drifting through life who end up supporting each other through the trauma of having one's well-off father die. That death spurs them both to grow up a bit though the transition is not easy for them. The movie is set in farm country where Amish live and coincidentally I live in that sort of country myself. It was actually a bit of a treat to see them carry on in such a setting.

I enjoyed the movie very much, understand its point completely and am really bummed to find out that very few others enjoyed it. I would recommend it to anyone familiar with that era (it's actually set in the present) and not hostile to it. Believe me from my point of view it is far more your loss than mine that this movie wasn't as praised as it should have been.

Reviewed by shawneofthedead 3 / 10

Nope. This is, most definitely, not here.

On paper, Are You Here is incredibly promising. Written and directed by Matthew Weiner, who created one of the most scintillating television series in recent memory in Mad Men, it stars top-notch comedians Zach Galifianakis and Amy Poehler - and yes, even Owen Wilson can be brilliant on occasion - and appears to require them to dig a little deeper in dramatic and emotional terms. So far, so excellent, right? The actual film, however, is a confounding mess: the characters are painfully inconsistent, their relationships annoying rather than engaging, and it's pretty much impossible to tell what the point of the entire film is.

We open on the dysfunctional relationship between Steve Dallas (Wilson) and Ben Baker (Galifianakis). Steve is a telegenic but shallow TV weatherman, who leers after but refuses to commit to or care about the women he beds. He seems only to have a soft spot in his coal-black heart for his loopy, manic-depressive childhood friend Ben. When Ben's father passes away, Steve accompanies his buddy to the funeral - an odd affair which re-introduces them to Terri (Poehler), Ben's uptight steamroller of a sister; and Angela (Laura Ramsey), the ethereal, beautiful, young stepmother still living in the family home. After the will is read, Terri vows to regain control of the family store from Ben, and Steve finds himself increasingly distracted from his empty existence by the promise of a deeper, happier life with various members of the Baker family.

The premise of Weiner's film has so much potential: it can explore the debilitating and very real effects of mental illness, and the dark, bitter family ties that bind. Once in a while, Are You Here does crackle slowly to life, often when Terri barges her way into a scene. She's about the only consistent character in the film: pushy, determined and apparently uncaring, yet grappling with her own heartaches (she's trying desperately and failing to have a baby with her husband).

But everything else is an almost remarkable mess. The likes of Steve Dallas - flighty playboys with surprising inner depth who are recalled to their senses by a life-changing event - have existed in many other films, but this incarnation never feels sympathetic. Weiner repeatedly tells us that Steve is charming, without actually showing us any proof in that regard. Instead, the character is whiny and opaque, his spiritual awakening too much confused with his lust for Angela. The same problem applies to Angela. She's resolutely portrayed as a genuinely grieving widow, who really did love Ben's father and was never in it for the money. But, often within the same scene, she transforms uncomfortably into a sexy romantic prospect - and not just for Steve, which is even more perplexing within the context of the entire film.

Even more frustrating is Weiner's troubling treatment of Ben's mental illness. Ben bounces from moment to moment, a ball of manic energy. Terri tries to have her brother declared legally and mentally incompetent to handle their father's estate. It's all bitter, crushing stuff, tied up with an odd perspective on the efficacy of Ben's psych meds. In effect, this is a story worthy of deep, thoughtful exploration - how much of Ben's personality can be attributed to his illness? - but is instead played for cheap laughs, not that there are many to be had.

The cast works hard, but can't quite power through the loopholes and problems in the script. This should be an opportunity for Wilson and Galifianakis to play their stock characters with a darker, smarter twist, but the duo wind up trapped in roles that barely make any sense. Since it's never clear just what role Angela plays within the film (reminder of the past? angel of change and love?), Ramsey is stuck in the same boat. Poehler is the only member of the cast who gets to do something a little different, playing a tough-as-nails character miles away from her sunshine-bright persona on Parks And Recreation. Even so, she disappears from the proceedings for such long stretches that it's sometimes hard to remember she's in the film at all.

Oddly enough, Are You Here might have worked far better as a television series. The ideas, characters and plot twists Weiner cooks up are so complicated and contradictory that they might very well fare better if explored at length and over time. Packed into a running time of just under two hours, the narrative feels rushed and ridiculous, its dramatic potential disintegrating as the film storms along in its strange, determined fashion. In the end, Are You Here is neither funny nor insightful, instead squandering the efforts of its cast, writer and audience to engage with this story and these characters.

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