And like the central figures in 2018’s Beautiful Boy and Ben is Back, to name only a couple, James’ inability to appreciate the equally-stubborn people there to help – most prominently, his brother Bob (Charlie Hunnam) – is planted at the heart of his reformation. In doing so, he joins a platoon of stubborn onscreen addicts who neither see nor understand the several assisting avenues paved in their direction. ![]() Following an explosive opening, in which James’ overbearing substances launch him into a naked blowout, the addict finds himself on a plane to rehabilitation.ĭespite this knowledge, James remains impervious to help. He plays the James Frey that the mischievous source author wanted people to come to know. This foundation of falsehoods may lend itself very heavily to the film’s own unscrupulous experience buoyed heavily by rehashed struggles, its overall unoriginality is only occasionally dampened by the wholly dedicated performance from Aaron Taylor-Johnson, the director’s co-writer and husband. Nevertheless, author James Frey has been awarded an onscreen presentation which, with the exception of a piddling, but apt Mark Twain quote – “I’ve lived through some terrible things in my life, some of which actually happened” – pardons his deceitful intent and inserts itself into the growing pool of films which attempt to explore the horrendous consequences and gripping immobility caused by drug addiction. ![]() ![]() For over a decade, the deceptions and fallacies driving the “memoir” from which Sam Taylor-Johnson’s A Million Little Pieces is based have been well-documented and well-scrutinized.
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