User reviews

In 2022, Jesse Eisenberg's directorial debut, 'When You Finish Saving the World,' was released. A comic drama about the contentious relationship shared by a mother and son, it was not exactly a commercial success, though garnered some critical acclaim. Time's Stephanie Zacharek noted Eisenberg as "a thoughtful filmmaker, devoted to showing his characters as multi-dimensional, flawed human beings," while The New Yorker's Anthony Lane opined that the film was "taut with unhappiness but allows itself to be funny."

Those same observations could also easily be applied to his second feature 'A Real Pain'. It follows two Jewish Americans, cousins Benji and David, who embark on a trip to Poland to visit their ancestral home. Benji is outspoken and free-spirited, standing in stark contrast to the reserved David. As they explore Poland with their tour group, they are forced to confront their relationship, revealing deep-seated pain and insecurity on both sides.

On paper, it doesn't sound like a comedy- in fact, it sounds rather dour. However, to describe the film as such would be to do a disservice to Eisenberg's nuanced direction and screenplay. It is a bittersweet examination of family, both funny and heartbreaking, as well as a sharply written character-study tackling important themes. Through his deceptively simple, straightforward story, Eisenberg crafts a universal tale that many will find relevant.

It is a film about family, about navigating the ties that bind- perhaps about the need to maintain connections with those we love. It is about more than that, though. It is a story about the past, and how we, as people, deal with it- past mistakes, past histories, shared past experiences. Through their journey, Benji and David confront not only their own personal histories but also the collective memory of their family and their cultural heritage. As they uncover layers of their shared past, they are forced to grapple with the weight of generational trauma and the impact it has on their present lives.

The film is beautiful in its subtlety, Eisenberg weaving these story-threads unostentatiously. Moreover, he has a great ear for dialogue, and the conversations between the characters sound like just that: conversations. The film is not just a barrage of quips heavily laced with sarcasm, as many comedies are today. Although at times hilarious, the dialogue isn't insincere: characters actually have discussions and debates about topics of import.

Furthermore, Eisenberg's characterisation is deft. Benji and David feel like real people, not cardboard cut-outs with one aspect to their personalities. They're not drawn in black and white, but in shades of grey. Practically every character in the film is a multi-dimensional one, and their interactions with one another brim with authenticity. It's a testament to Eisenberg's screenwriting prowess that every character, no matter how small or inconsequential, feels fully fleshed out; with a life going on after the screen fades to black.

The film is also a technical achievement. Director of photography Michal Dymek's cinematography is as subtle and unassuming as the tale itself. He captures some haunting imagery, from Poland's cobble-stone streets and grim, post-Soviet architecture to the cold cruelty of a concentration camp. These visuals not only ground the narrative in a palpable reality but also evoke a deep emotional response, underscoring the film's themes of trauma and history.

In addition, the music of Frédéric Chopin is interwoven cleverly into the film, becoming a character in itself, his melancholy melodies seeming to heighten the drama and power of proceedings. Further, Robert Nassau's editing ensures the film has a good pace, never wanting for momentum.

Kieran Culkin and Jesse Eisenberg star as Benji and David, respectfully. Culkin is utterly terrific, playing Benji with a winning blend of charm and charmlessness, masterfully displaying his vulnerabilities and complexities. As Kris Kristofferson wrote, "he's a walking contradiction," who can light up a room as easy as he can drain all the life from it. Compelling and multi-faceted, Culkin's may be the best performance of 2024; so completely does he embody the damaged, charismatic character.

Eisenberg is the straight man to Culkin's gregarious charmer, underplaying it expertly. David is the stable one of the two, but not without his own issues. Eisenberg brings a lot of nuance to the role, capturing the subtleties of a character whose outward composure belies an internal pain. Their supporting cast do equally strong work, from the likes of Will Sharpe as the cousins' tour guide to Jennifer Grey as one of the tour group; none can be faulted.

In conclusion, Jesse Eisenberg's 'A Real Pain' is an extremely accomplished piece of work. Through its blend of humour and heartache, the film offers a poignant exploration of family, heritage and the complexities of human relationships. Eisenberg's strong direction and screenplay, combined with stellar performances from the cast, make it an unforgettable piece. A beautiful and thought-provoking journey resonating on multiple levels, 'A Real Pain' is a real joy.

Watched this at the 2024 Sundance Film Festival.

Previously, Jesse Eisenberg made "When You Finish Saving the World" which was interesting but unfortunately a bit annoying. Here, Eisenberg's direction and writing for this movie shows he has massively improved as many of the characters are interesting and engaging, good dialogue conversations, and great performances, especially from Kieran Culkin who steals the show in the entire movie.

The narrative explores family history and complicated bondings as each of the themes and explorations on the subjects were handled well and it was funny, emotional, and compelling to observe. Including beautiful camerawork, good soundtrack, and conversations that felt real, genuine, and engaging to observe.

Eisenberg's approach on the chemistry, structure and pacing was good as he has created a really good compelling and personal story about family history and the true meanings of bondings and relationships. There were some soundtrack choices that felt a little out of place. But overall, Eisenberg improved himself and I look forward to see what else he could bring to the today.

On the plus side the themes explored in this film are unusual - platonic, familial love between two men, the impact of the holocaust on the children of survivors, etc. - and credit should be given to Eisenberg for offering an alternative to standard Hollywood movie fare.

Also commendable is the casting - especially the inclusion of Jennifer Grey.

However, Eisenberg seems to operate under the misapprehension that Benji is in any way charismatic or likeable. It doesn't matter that other characters claim he is, or tolerate his self-obsessed behaviours. Actions speak louder. Spending 1hr 25mins in his company was almost unbearable and, had I been part of the tour party, I would have left him in no doubt that he was a self-obsessed, insensitive and utterly selfish creep. Be absolutely assured that I would not be hugging him and telling him what a life-changing influence he was upon parting. Rather, I would be thanking my lucky stars that I would never again have to suffer him.

Was the film interesting? Yes. Did I enjoy it? No. Make your own mind up. I'm sure you will.

I saw this film at the AFI film festival in Hollywood last week. By the time I got to this film, I was suffering from a bit of filmgoing overload, and chatting with someone in the audience before the film began, I almost forgot what I was I going to see! But I was so glad I got to see this one! As you know from the synopsis, Jesse Eisenberg wrote, directed and stars in this great film about 2 cousins' journey to Poland to see the land of their beloved grandmother. Eisenberg perfectly plays a role that he seems made for - an uptight, nervous and dedicated family man who always wants to do the right thing. Joining Eisenberg is Kieran Culkin who plays the polar opposite of Eisenberg - he is garrulous, open, and willing to break the rules, much to Eisenberg's chagrin. Culkin's character easily makes friends with his fellow travelers and guide - again much to Eisenberg's amazement (and sometimes annoyance). The story itself is very involving, and you will find yourself wanting to join them on their tour. Culkin may be in the running for an Oscar on this one and Eisenberg may get a nomination for screenwriting and/or direction. So, I highly recommend you check this one out as soon as you can.

Jesse Eisenberg's second effort as writer-director sets out to be something unconventional. There's something of Richard Linklater's BEFORE trilogy in the DNA of A REAL PAIN, with some recognizable inheritance from Michael Winterbottom's TRIP series also apparent. The perambulatory pacing, the languorous cinematography that asks you to look beneath the surface of touristy sights, the dialogue that meanders through an unpretentious and unstructured unpacking of the meaning of life, the total absence of any "bad guys," the near total absence of any outright conflict, the barest hint of any goal guiding the plot aside from the completion of a simple itinerary... A Real Pain shares all these realistic features with those earlier, more spirited, life-affirming films. Yet somehow... it doesn't quite work.

I'm not sure what was at fault with why I never really got into this movie. I think a large part of it has to do with all the supporting characters (i.e. Everyone besides the cousins played by Eisenberg and Kieran Culkin). Will Sharpe's non-Jewish tour guide, the Rwandan convert, the old couple, the sexy divorcee... the characters are all very basic, very conventional, very boring. The actors who play them are fine, but there's not much they're given to do, and so they seem unnatural and lifeless, more like set decorations than people. Eisenberg knows how to direct a camera, I think; he knows how to put the proper cinematic elements in place. But perhaps he doesn't know how to direct actors, or maybe he just doesn't know how to write characters. There's never anything to suggest that these people exist beyond the moments we see them in, which perhaps could've been fixed with some more spontaneous improvisation from the actors.

Eisenberg and especially Culkin are better in this regard, but there's still something rather stilted and "written" about a lot of what they say and do. Eisenberg's "workaholic salesman with OCD" is largely one-dimensional, and the few times where his character expands beyond that facade seem more like forced acting than any kind of genuine glimpse into something deeper. Culkin is wonderful--a glimpse perhaps of his Succession character if Roman Roy actually cared about people--but I think that's just a credit to Culkin's talent; he somehow manages to transcend what he's been given to work with.

This is a decent indie film with a few good laughs, a couple of interesting ideas, a memorable tour of Poland, and a solid performance from Culkin. From the trailer and the reviews, I was expecting something much funnier and emotionally impactful, but I'd still recommend the movie to anyone interested in it.

I was really impressed by this movie. In my opinion it's a really original story. It's strength lies in it subtlety. It very accurately depicts the duality of people's character. The beauty and the shadow. I found it very interesting to see how what looked like "negative" behavior turned out to have some positive effect. How nothing is black and white. How being very direct also means being honest for example. It really makes you think.

The dynamics in the group were also interesting and heart-warming to watch. It shows how people can really connect over a short period of time.

Definitely worth the watch for those who are interested in the complexity of humans.

In general, I feel sanity is a balancing act.

This film may address that specifically, or it could be me.

That said, Jesse Eisenberg does have to be both writer/director *and* one of the lead actors. It is a story he created but it is significantly drawn upon his family and personal life.

The movie too does a very solid job of telling a small story, an odd couple tale of two cousins beneath the huge and horrific shadows of the Holocaust.

I will say when I first heard a blurb about it, I thought it was more of a straight comedy. I had mentioned to my wife I wanted to watch it, and driving home the night we planned to do so, I happened to catch Eisenberg on the always tremendous "Fresh Air" with Terry Gross.

That definitely affected my viewing, and had me ready to appreciate the comedy as a leit motif. I think I would have still adored the character of Eloge, a Jewish convert from Rwanda-via-Winnipeg who is apparently someone Jesse has met in real life.

The contrast between Eloge ( a lesser but certainly memorable character) and Benji (a major and memorable one) - is the final balancing act for me to reflect on. Eloge is almost serenely saintly, when truly one cannot comprehend what he has been through. Benji, far from serene but not without his blessings, is on the other end of the spectrum.

Both need to move through tortured physical and mental landscapes and doing so on a trip between Lublin and Majdanek - very poignant.

I just finished this film and I have to say I'm surprised reading some of the bad reviews about it, I know film perception is subjective but I don't understand how someone could dislike this film. It was so interesting to me, and the thing is, nothing big really happens, you just follow these two cousins along their trip, it's normal, it's almost casual. There are not going to explain everything to you because there's no need for it. We have access to the superficial, to the bare minimum because that how the characters relate to each other, there so much they don't understand and so much that they don't say. The performances are all incredibly, especially Culkin. I was left crying by the end. Maybe you need to have dealt with depression to connect with it more. Maybe you need to have seen someone you love survive (or not) this painful illness. But I'm happy for this type of movies to exist. This stories also need to be told. As rare and unfitted for some people may seem.

All 6 stars go for Kieran who is an amazing actor but he has doomed himself after this movie to always play Roman Roy. The movie itself, though using the saddest and deepest subject Jesse could have used, is a common dramedy that can't go deep enough. Everything is just mentioned superficially and nothing has a start, a middle and an ending. Many things remain unexplained and the end shows nothing that can lead to a closure. The only extraordinary thing is seeing the nazis camp and also some other significant places, for people who care for these things. Personally I was here for the emotional aspect of the movie and I only got a repeat of Roman Roy.

When we departed the movie theatre after viewing 'A Real Pain' we were quite pleased with the experience. Not a great film but a film for adults, about adults; adult issues, conflicts, resolutions. The night passed and when we woke the next morning we both asked the same questions. (1) What was it really about? And (2) were the questions and issues raised by the film resolved, even answered, in any way? To which we said (1) I don't know and (2) No.

Not a good reaction to a film that on its face is trying hard to make a point, leave an impression, have a point of view.

Kieran Culkin and Director Jessie Eisenberg portray close cousins who journey to Poland to visit the land of their recently deceased and dearly beloved grandmother. Culkin is somewhere on today's psychological spectrum while Eisenberg is a tight, constrained, family man and good provider, Eisenberg's character holding his cousin on a long leash throughout the journey. Even so, Culkin's character proves to be a fire-starter in both good and bad ways, for the ninety minutes run-time infuriating some members of the travel group, while entertaining others.

And then the film ends. It ends where it began, at New York's JFK-airport, the trip concluded, the cousins parting, the credits scrolling on the screen. And while their trip seems to have been a success, we can't say why, or what the two took away from the experience, and how their lives might be changed.

One more thing. The Holacost. The trip takes us through Poland where the Warsaw Jews put up fierce resistance, and where millions of them were murdered in the gas-chambers of the Camps; one of which is visited by the cousins. And this is heavy stuff, a heavy subject. It is like the introduction of a gun in a movie; it has to go off or be otherwise significant. But I truly cannot say what role The Holacost plays. Yes, of course the Jews suffered pain. And the film's title is 'Real Pain'. And Culkin's cousin proves to be a 'real pain'. And yes, pain is a relative thing; what is painful in one relationship might not be so in another. Yes, yes, and yes., Even so, 'The Holacost angle', for me it didn't work. But it should have.

Finally, Jennifer Gray, she of 'Dirty Dancing'; she plays one of members of the tour group. And she was pretty darn perfect.

Although the movie explores personal pain, it wnds with no real purpose or resolution. In fact, it could have been fedt out entirely.

No character evolves or learns from the exprience, and the concentration camp sequence is only there for shallow effect.

The McCulken character "Benji"is unbelievble and overplayed, and really just makes you angry. He is so much of a jerk. Eisenberg's character doesn't ring true.

Frankly, the rest of the cast were quite interesting, more than the two lead characters. I wish we had learned a bit more about each of their stories.

So... The movie just played on empty emotion for me.

Mining the holocaust for story is Hollywood's favorite awards season pastime. But unlike last year's "zone of interest," this film at least puts us back on the internment camp side of the fence - or at least the descendants of those who were there - so we can more closely empathize with the terrible and tragic discomfort of its victims. But comfort vs discomfort is a key element of the movie. Kieran and Jesse's characters are on a guided tour of warsaw's terrible past and Kieran's would rather everyone get emotionally down and dirty than eat well and sleep well: something his survivor grandmother did not do. But all the discomfort and tears the characters seem to be experiencing has more to do with their own estrangement, which makes their journey seem a bit narcissistic and shallow, especially since we never really learn too much about either character (one's functional, the other's lost - what else?!). Using the holocaust as a backdrop for an updated "you can count on me" rehash didn't fill enough of the blanks to make me care enough about the lead characters and their "pain". End note: Kieran is so co-lead of this movie. His awards campaign as "supporting" is egregiously unethical.

A Real Pain is a wonderful movie. Jessie Eisenberg and Kieran Culkin both give some of the best performances of their careers. I definitely believe Culkin will be a front runner for the Oscars this year. Eisenberg also wrote the script for this movie and directed it. He knocked it out of the park with both of these tasks as well. This movie has a constantly intriguing, emotional, and funny screenplay. The movie deals with some heavy themes and handles all of them so tastefully. This is a movie that clearly meant something to everyone making it and I believe you can see that in the final product.

(Watched at a preview in Bristol as part of the London Film Festival)

I had high hopes for "A Real Pain" but despite a handful of funny moments and emotional speeches there are simply far too many areas where it misses the mark.

The biggest positive is Jesse Eisenberg himself. The writer/director anchors the film as awkward-yet-successful New Yorker David, who invites his cousin Benji (Kieran Culkin) on a trip to Poland to pay respect to their grandmother and reflect on their personal struggles. Eisenberg is believable and sympathetic, and is at the heart of the best scenes.

But Culkin is simply annoying. It is an energetic performance, no doubt about it, but his volatility and inability to read a situation means that he is the kind of person you would try to get away from within minutes of meeting them. It's hard to believe that he becomes the star attraction of the tour group.

Will Sharpe is also very weak as the tour guide, putting on an effete Yorkshire accent for comedy effect - perhaps American ears may not be so bothered by it but these British ears were very disappointed. The role would have been far stronger if played straight.

The other cast members have small roles but Jennifer Grey (yes, THE Jennifer Grey) and Kurt Egyiawan stand out, adding authenticity to their characters.

Aside from the variable performances, there is a general sense that the scenes were improvised and workshopped as they went along. Situations develop, or are implied to have developed, without any obvious cause or resolution. For a drama to succeed - and at heart, this is a drama - there needs to be a tautness to the script and story development that "A Real Pain" lacks. Any momentum that builds up slips away easily - I was looking at my watch after half an hour, and the film feels long even though it runs for less than 90 minutes.

Oh, and there are times when it feels like a promotion for the Polish tourist board - don't get me wrong, it made me want to visit, I just don't think that is the role of a feature film.

"A Real Pain" hints at having something important to say about grief, but it never finds the right words. A missed opportunity.

I wasn't sure what to expect, but I know it wasn't it... it was much more.

The whole movie is filled with a wide range of emotions, spanning from sadness, happiness, anger, shock, embarrassment, and cringe to small chuckles, and finally a pain that builds up until the end.

It's my first time watching a movie directed by Jesse Eisenberg, and I went to see it mainly because I've liked his performances in other movies. One thing is for sure: it doesn't disappoint. The plot is interesting, with no unnecessary fillers and characters lacking depth.

I encourage everyone who is even slightly interested to watch it and form their own opinion about it. It's just 90 minutes, but maybe you'll end up with some questions to think about.

Unfortunately for me the two main characters were so unlikable that any other positives that there might have been were too difficult to grasp. The David character in particular was too difficult to even watch he was so uncomfortable in his own skin. Benji appeared to have some manic depressive qualities if you ask me and any charm he might have had were overtaken by his selfishness. Both with his cousin and with everyone around him with the type of behavior that demanded attention from everyone. I had pity for both of the lead characters and that's not enough to keep me interested. Visually the film was fine, the cinematography adequate.

A Real Pain

As an American of Polish descent, A Real Pain interested me with the premise. Two cousins had lost their grandmother, and they chose to visit Poland where she had come from, and escaped the Holocaust. The film then hits you hard in the feels with the literal, figurative, metaphorical and emotional definitions of A Real Pain.

Kieran Culkin is absolutely phenomenal in this film playing Benji, who is so lost in the world after his grandmother's death, that the pain erupts in ways that are heartbreaking and understandable.

I related to the character a lot because Benji clearly shows signs of bipolar disorder that manifests in emotions so strong that you feel them along with him. He can express silliness, sadness, intense grief, human sentimentality, joy and frustration all at the same time. It's dizzying but it's so raw and real.

Jesse Eisenberg, playing his cousin David, does his usual character of bumbling anxiety that is growing tiresome. But in this film, it works, because David tends to play the role of the mirror reflecting back to Benji what it's like to not experience the pain. The characters play well off each other as one feels too much, and one doesn't feel at all.

This film was spectacular. It's filled with so much emotional nuance that I want to see it again just to watch Benji's body language and facial expressions again as my heart is ripped apart along with his. The plot itself is very basic, but it's the impact on the characters that is most important.

I haven't even commented on the other characters in the film, but they're just as important. Everyone interacts with Benji in such a way that it just gets more and more real and relatable.

Ugh! Go see this. It's a roller coaster.

I won't cover what others have already said. This isn't a comedy or a road movie and it's not some commentary on the horrors of war.

For me this quaint indie (feeling) flick is really an observation about living with someone with mental illness. If looked upon from this angle it is well observed and touching and uses its three acts to unfold all the different dynamics in the cousins relationships using the backdrop of the road trip and the visit to the concentration camp. It deliberately subverts expectations by not providing a defined ending (often the case in this situation) and the scenes often don't lead to expected outcomes. That's what life can be like when your are dealing with that issue.

For me this made the film an interesting (if flawed) study that was definitely worth the watch. YMMV.

I've heard this referred to as a 'holocaust comedy', which is pretty extraordinary but not particularly accurate, as it's more about humanity, relationships, and in some ways, how history shapes us all. Take a simple enough idea, two cousins of Jewish descent decide after the death of their grandmother, who survived the Holocaust, to visit Poland and the historic sites of the tragedy, so they join a tour.

Eisenberg in his second film directing has created something special, a bittersweet, comic but poignant drama about humanity, centrally about two very different cousins, brilliantly played by Eisenberg as the boring one, but especially Culkin as the irrepressible annoying wild conscience of the film. The rest of the cast are great too by the way- it's brilliantly cast, and also features inspired use of Chopin. In the end, if a film that is shadowed by such tragic history can ever be so, its humanity and depth create something life affirming.

"Grandma Dory" has passed away and left her two grandsons some money so that they can take a trip to Poland and see where she grew up amidst the Nazi invasion and subsequent holocaust. These two are cousins. "David" (Jesse Eisenberg) is a bit of a shy, geeky, type who lives in New York with his wife and child. "Banji" (Kieran Culkin) is quite the opposite. A free spirited, thinking and speaking individual who cares little for what anyone else thinks about him. The pair clearly love each other, but the behaviour of the latter continues to rattle his travelling companion, especially when they meet up with the other members of their touring party in Warsaw. What now ensues is quite a testament to both Eisenberg's vision as a writer/director but also to the inspired casting of Culkin. He is the kind of holiday companion I'd cheerfully have killed with a rusty harpoon. Loud, brash, opinionated and sometimes borderline cruel as he imposes himself on the group swearing as he goes. Gradually, though, we discover that both men have shields up; both are dealing with some fairly deep psychological issues in their own way and even ought these may clash, there is still far more fundamentally connecting them that not. There are ample opportunities to see the sights of Warsaw, and there is an haunting few minutes at the Majdanek camp where shoes, thousands and thousands of shoes, make you shiver. It's potent and it's often funny, darkly so, and in many ways it slots nicely into the recent panoply of dramas about the fascination by younger generations in the horror of war that those who endured actually want to get past and forget. It also shines a light on the whole business of tourism around these monuments, and does make it quite clear that sometimes these trips can become a statistical box-ticking exercise, especially for Americans, who want to say they've "done" that. An architectural monument equivalent of a safari "big five". In the end I found "Benji" to be a vulnerable but fundamentally selfish and unlikeable character - but I bet there are many reading this who profoundly disagree. That's proof that these two did their job well and I'd recommend you go see it in a cinema for a couple of powerful and characterful performances.

I love imdb and rate movies constantly but never feel obligated to leave a review. HOWEVER, I hope to save someone some time and money when I say avoid this movie at all cost! How was this described as a buddy COMEDY??? I truly didn't even chuckle one time. I went to the theater with my buddy on one of the rare nights we get out of the house and I apologized to him several times in the drive home. We both kept asking eachother what the hell even happened throughout the movie. I didn't have one takeaway as to what I just watched other than the question of why isn't Benji heavily medicated? He is clearly bipolar and an absolute nut. I would step in and try to help if one of my family members was just hanging out in the airport to watch people.

Anyways, I know this review isn't insightful and I'm probably not artsy enough to understand the underlying meaning of whatever the message may have been.

Just take my warning that if you want to go see a movie that is entertaining then this is absolutely not it.

I really enjoyed "A Real Pain". It's about two cousins, played by Jesse Eisenberg and Kieran Culkin, who travel to Poland and go on a tour that includes a visit to an old concentration camp. So the film obviously gets dark, but it's also funny and heartwarming. The cousins hang out and smoke weed together. Sometimes, their relationship isn't pleasant, but I can tell they love each other.

Eisenberg also wrote and directed the film and he did an amazing job. I found the film to be realistic. The story, acting, cinematography, editing, and such are great. There are lots of gorgeous shots. The concentration camp scene is poignant and respectful. During the film, I felt sad, at times. I guess I really cared about the cousins. There aren't any scenes that went on for too long. I just love this film. "A Real Pain" is definitely one of my favourite films of the year. I obviously highly recommend watching it.