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  1. Mar 7, 2019 · The “I” of the title is Steve, played at age 60 by J.K. Simmons (who is married to the director, Michelle Schumacher). An inveterate alcoholic who lives alone and disheveled, Steve learns that ...

    • Michelle Schumacher
  2. Oct 10, 2024 · Directed by Edward Berger. This film, based on Robert Harris’s 2016 thriller of the same title, centers on a British cardinal (a sensational Ralph Fiennes), and a campaign for a new pope. By ...

  3. Mar 10, 2019 · JK Simmons delivers a haunting performance as Steven Harrison, a broken, desolate, and suicidal alcoholic. The film sets its tone early, with Harrison sitting in his dark, cluttered home, a gaunt and ill man. He is as much a shell of his life as his home is, littered with memories and mementos from his life. These memories are a stark contrast ...

  4. Mar 8, 2019 · The screenplay by Tony Cummings and director Michelle Schumacher is too wise to let little Stevie’s dad (Max Greenfield) or Steve himself be one-dimensional alcoholics. There is a scene of a wife pouring booze down the sink, and there are the inevitable confrontations and recriminations. Steve’s dad loses his job.

  5. Mar 8, 2019 · Steve (J.K. Simmons) is haunted by his past as every object in his home, every sound he hears reminds him of a specific event in his life. Steve connects the events of his life to discover how he ended up alone and broken. As he relives each significant memory, he understands the generational issues that have held him captive like his father before him. Can he move past the pain and forgive ...

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    • Michelle Schumacher
    • TV-MA
    • J.K. Simmons
  6. Mar 4, 2019 · Stevie is subjected to getting his father (Max Greenfield) drinks and even tastes it to see what has him so enraptured. Triggered by this past with his father, Steve (Sebastian Stan) is plagued ...

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  8. Mar 26, 2019 · I’m Not Here was written and directed by Michelle Schumacher, who is also the wife of J.K. Simmons, and her film is will surely be considered negatively as a whole. The issue is that one-half of the film is so well done. It is visually striking, with a masterful use of lights, shadows, tone. You must wonder what happened on the cutting-room ...

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