Self-important, over-dramatic, uninspired.

Purely Joyful Movie!

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

This film gets at some difficult truths. Anyone interested in miscommunication between the sexes, gender dynamics, gender studies, roots of desire, roots of violence...anyone that knows what it is like to be a young woman...I think the list goes on; there are many audiences that could get something out of this film. Plus, it is well written, well acted, and well directed - there were several scenes that caught my attention in artistic, creative, and subtle ways. I realize this review may not be balanced - that's a whole lot of praise, but, truly, there is something about this film that is not only well presented, but profoundly important.

I went into this film with high expectations being a huge Lena Dunham fan. The film centres around an experimental film maker and her work with an audio designer. If you have a great pair of headphones or a high end sound system the film wont disappoint your ears either, with a great original score. Rosemarie Dewitt is fantastic as always however my stand- out performance comes from fresh face India Ennenga who for me was the performance highlight. The film wraps up quickly and doesn't waste much time either, its a quick tale told sharply and its brilliant. It baffles me why this has such low scores, possibly they were expecting something more light-hearted penned by Dunham?

Documenting the life of the rich and shameless is already dubious artistic terrain in my book. The sell points are obvious - class and lifestyle reinforcement for the people who actually live this way, fascinated adulation from those less fortunate. But unless it is handled with care and insight, it can really just seem like pretentious tripe. Unfortunately, this movie falls into that category.I enjoyed the first half of Nobody Walks, which explored the different personalities in an upper middle-class artistic household as Olivia Thirlby's character settled in. I was already familiar with Thirlby from Juno and recently Dredd, which she was great in. She is the real standout in this movie. There is an understated quality about her that is very appealing, and she's just interesting to watch on screen.Where the movie falls into trouble is in the second half. For the record, I have no problem with movies with all white casts (go Woody Allen!), even if it does seem a bit anachronistic in today's increasingly diverse America. But I do turn a suspicious eye on movies like this when the one ethnic character in the film - in this case an Italian tutor played by Emanuele Secci - winds up being so sinisterly drawn, and particularly playing into cheap stereotypes. Kolt's poem about him was nasty and xenophobic. In light of the already borderline pointless story and vapid characters, this was the turning point for me. The point where you go, "Damn, can't get those two hours back, can I?" Alas, you cannot, so I would recommend a pass.P.S. I forgot to add that as someone who generally is uncomfortable with and dislikes excessive sex scenes in movies, the romantic scenes in this movie are beautifully done and believable. Of particular note is the first kiss between John Krasinski and Thirlby.

I saw Nobody Walks at the BAM Film Festival and loved it. It's sensual and provocative and very smart. It was written by Lena Dunham and Ry Russo-Young and fantastically directed by Russo-Young. It's great to see John Krasinsky in this kind of dramatic and sexual role and Rosemary DeWitt is lovely and perfect. The sensory details in this movie are impeccable, from the sound design and music to the cinematography and production design. These all work together to create a dreamy LA background, against which family, sex, art and work are critically examined and tested. It is a beautiful movie. I highly recommend it. It's also so great to see a movie created and starring so many brilliant and driven young women.