Good for fans of Steve Coogan or Rob Brydon. Not particularly edifying for those who have read Tristram Shandy.

Possibly of some interest to film students, or those interested in postmodernism or intertextuality.

Funny enough in parts to be worth watching.

All you need to know about this movie is in the scene where Steve Coogan’s narcissistic lead argues for his character (Walter Shandy) to have an anachronistically tender moment with his newborn son (Tristram) simply to manipulate audience’s affection for him. The writers refuse, but moments later Coogan’s Coogan has an uncharacteristically sappy moment with his own newboarn son. And even though we know exactly what’s happening and why, it works all the same.

I really wanted to like this film, but I simply could not get through it. The post-modern storytelling and the bits from the novel were wonderful, but they were too scarcely scattered amidst a sea of boring “making-of” scenes. I would love to have seen the film-within-the-film rather than sitting through the film itself. Steve Coogan tried very hard to be an irritating British actor and I must commend him on his terrific success.

Finally got it on DVD, and it was enjoyable as I had hoped, however I do have a couple complaints…How do you assemble such a fantastic ensemble and spend the majority of the time ignoring them? Did Greg Wise even have a line? Jeremy Northam had like 2…and I could have done with more Gillian Anderson, and more Keely Hawes (that wasn’t labor pain induced screaming).

I really enjoyed the post-modern style of the storytelling, but could have done with a lot less of the behind the scenes stuff and more having to do with the actual novel story…Steve Coogan was funny when he had stuff to do (like with the chestnut or the life size womb)...but otherwise wasn’t very entertaining.

Tristram Shandy was a postmodern novel before there was a modernism to be post about.

While I read a good chunk of Tristram Shandy, I don’t remember finishing it. But I do remember that it was very funny and somewhat bawdy and surprisingly experimental. With Michael Winterbottom’s adaptation of Laurence Sterne’s novel, he manages to bring a sophisticated and yet anarchic vision to a story that is filled with digressions. The film manages to move effortlessly between drama and comedy and has a dizzying number of narrative threads running through it. It all feels casual, but as the story unfolds there is a great deal of control as more pieces of the puzzle fit together. While there is an intellectual level that is enjoyable, it is also a lot of fun. It’s a similar film in terms of style and structure as Winterbottom’s 24 Hour Party People but instead of the Manchester music scene, he explores a difficult (but entertaining) English novel.

truffaut’s day for night meets altman’s the player played by and anxious, insecure british comedian. what’s not to like?