Doug 2020 123movies

Watch: Doug 2020 123movies, Full Movie Online – Unknown actor Doug Bridgers will stop at nothing to establish himself as a leading man in the always evolving Hollywood Film Industry..
Plot: Unknown actor Doug Bridgers will stop at nothing to establish himself as a leading man in the always evolving Hollywood Film Industry.
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Ratings:

	6.4/10 Votes: 30
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 1 Popularity: 1.459 | TMDB

Reviews:

A jamesthefilmcritic review:
Jonathan Latona’s full-length feature debut is a tenaciously spirited rush that carries passion in abundance. Resuscitating the film industry, DOUG (2020) won’t go down without a fight.

Doug Bridgers (Doug Burch) is a worn-down actor looking for a career breakthrough, but as he trudges through an evolving film industry, he only finds more questions.

Winner of three awards at this year’s Film Invasion Los Angeles, the film’s pros weighs greater than its cons, revealing what can be accomplished when having a story to tell and a unique way of telling it. A lack of resources shouldn’t stifle creativity… and within a year of trepidation and turmoil, I rather enjoyed DOUG.

Director Jonathan Latona utilizes every tool at his disposal to create an immersive, intelligent picture. DOUG is initially shot in monochrome which immediately establishes negative energy when offset against the juxtaposition of the vibrant city life. From that point, the use of colour is used sparingly with negative connotations. A smart spin on the formulaic colour pallet of cinema. With this in mind, it could be argued that the monochrome setting is a metaphor for Doug’s career. Washed up. The award-winning cinematography serves a broader purpose than to ensure the film is esthetically pleasing. It carries the tone.

There is a brief scene in which Doug is attacked. However, this is romanticised, creating an appealing look to the setbacks and inner pain, as though Doug relishes in the chase.

Incidentally, my favourite scene is midway through the film where Doug is seemingly becoming comfortable in his skin. The mood shifts to reflect his confidence, yet Latona manages to sustain an eerie sense that Doug is battling his inner demons. It sets an ambiguous tone for the remaining duration. An ingenious showcase of filmmaking that may have otherwise been overlooked.

DOUG owes a great debt to BIRDMAN (2014) in its vision and depiction of an ageing actor, circled by the next generation of talent and losing a sense of self-worth. Though, DOUG is self-aware. The persistent quick cuts convey a charming integrity. There is also a reference to Todd Phillips’ JOKER (2019) (“Your life isn’t a tragedy” … “It’s a comedy”) which did make me anxious. There’s an incredibly thin line when referencing such impactful films, however, this is done subtly and isn’t repeated. Whether intentional or not, it can be forgiven as a homage that presents parallels between Doug and Arthur Fleck and their awkwardness within society.

Doug’s isolation is examined by the environment around him. The production, with limited reserves, manage to capture Doug’s solitude through minute details. Rather than using vast open land or grand ominous interiors, a technique deployed to great effect throughout the history of film, Doug’s inferiority is explored in comparison to the company he shares. He’s often stood alone with a group of people across from him.

A striking example of this is during Doug’s numerous auditions. Burch establishes inferiority and in doing so his auditions become more eccentric and brash.

There’s a moment whereby a casting director asks Doug if he can give her different levels “You seem angry. It’s too loud and it’s one-note.” Having been given this advice, Doug continues to vent his anger. Doug’s inability to self analyse is reflected in the standout ingredient of the film. The sound. It often clashes with the dialogue in a battle of wills and if I’m honest, I wasn’t sure if I was completely sold. As I went with the film and immersed myself I found myself to be experiencing Doug’s angst simultaneously. It’s a remarkably brave decision to repeat this technique for large durations of the feature but I found that it embellished the film’s identity.

It would be remiss of me not to mention the pacing of DOUG. It does veer off at certain points and I do believe that the overall runtime could have been reduced. Each scene does merit its place but some are a little baggy and may have benefited from being tightened… Nevertheless, I didn’t care. It feels authentic. It’s a cognizant project that isn’t afraid of taking risks. In many ways, DOUG is a social commentary on the security of film and those within the industry. So good for it. Give DOUG a chance. An inexpensive, refreshing film that has emerged as my pound for pound treat of the year.

A jamesthefilmcritic review:
Jonathan Latona’s full-length feature debut is a tenaciously spirited rush that carries passion in abundance. Resuscitating the film industry, DOUG (2020) won’t go down without a fight.

Doug Bridgers (Doug Burch) is a worn-down actor looking for a career breakthrough, but as he trudges through an evolving film industry, he only finds more questions.

Winner of three awards at this year’s Film Invasion Los Angeles, the film’s pros weighs greater than its cons, revealing what can be accomplished when having a story to tell and a unique way of telling it. A lack of resources shouldn’t stifle creativity… and within a year of trepidation and turmoil, I rather enjoyed DOUG.

Director Jonathan Latona utilizes every tool at his disposal to create an immersive, intelligent picture. DOUG is initially shot in monochrome which immediately establishes negative energy when offset against the juxtaposition of the vibrant city life. From that point, the use of colour is used sparingly with negative connotations. A smart spin on the formulaic colour pallet of cinema. With this in mind, it could be argued that the monochrome setting is a metaphor for Doug’s career. Washed up. The award-winning cinematography serves a broader purpose than to ensure the film is esthetically pleasing. It carries the tone.

There is a brief scene in which Doug is attacked. However, this is romanticised, creating an appealing look to the setbacks and inner pain, as though Doug relishes in the chase.

Incidentally, my favourite scene is midway through the film where Doug is seemingly becoming comfortable in his skin. The mood shifts to reflect his confidence, yet Latona manages to sustain an eerie sense that Doug is battling his inner demons. It sets an ambiguous tone for the remaining duration. An ingenious showcase of filmmaking that may have otherwise been overlooked.

DOUG owes a great debt to BIRDMAN (2014) in its vision and depiction of an ageing actor, circled by the next generation of talent and losing a sense of self-worth. Though, DOUG is self-aware. The persistent quick cuts convey a charming integrity. There is also a reference to Todd Phillips’ JOKER (2019) (“Your life isn’t a tragedy” … “It’s a comedy”) which did make me anxious. There’s an incredibly thin line when referencing such impactful films, however, this is done subtly and isn’t repeated. Whether intentional or not, it can be forgiven as a homage that presents parallels between Doug and Arthur Fleck and their awkwardness within society.

Doug’s isolation is examined by the environment around him. The production, with limited reserves, manage to capture Doug’s solitude through minute details. Rather than using vast open land or grand ominous interiors, a technique deployed to great effect throughout the history of film, Doug’s inferiority is explored in comparison to the company he shares. He’s often stood alone with a group of people across from him.

A striking example of this is during Doug’s numerous auditions. Burch establishes inferiority and in doing so his auditions become more eccentric and brash.

There’s a moment whereby a casting director asks Doug if he can give her different levels “You seem angry. It’s too loud and it’s one-note.” Having been given this advice, Doug continues to vent his anger. Doug’s inability to self analyse is reflected in the standout ingredient of the film. The sound. It often clashes with the dialogue in a battle of wills and if I’m honest, I wasn’t sure if I was completely sold. As I went with the film and immersed myself I found myself to be experiencing Doug’s angst simultaneously. It’s a remarkably brave decision to repeat this technique for large durations of the feature but I found that it embellished the film’s identity.

It would be remiss of me not to mention the pacing of DOUG. It does veer off at certain points and I do believe that the overall runtime could have been reduced. Each scene does merit its place but some are a little baggy and may have benefited from being tightened… Nevertheless, I didn’t care. It feels authentic. It’s a cognizant project that isn’t afraid of taking risks. In many ways, DOUG is a social commentary on the security of film and those within the industry. So good for it. Give DOUG a chance. An inexpensive, refreshing film that has emerged as my pound for pound treat of the year.

Other Information:

Original Language en
Runtime 2 hr 13 min (133 min)
Budget 0
Revenue 0
Status Released
Rated N/A
Genre Drama
Director Jonathan Latona
Writer Jonathan Latona
Actors Vered Blonstein, Abby Craden, Branden Garrett
Country United States
Awards 3 wins
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio N/A
Camera Panasonic GH5
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A