Rules Don't Apply

A starlet (Lily Collins) and an aspiring real estate developer (Alden Ehrenreich) are caught up in the affairs of Howard Hughes (Warren Beatty), by this time enveloped in his own eccentricities. A genuinely strange enterprise, something like a passion project for Beatty, but so disjointed as to suggest massive recutting, and so bizarre as to wonder what the point was. Still, it's oddly entertaining much of the time, and Beatty, making his first film in years, embraces the role with relish.

Beatty's passion project is a fascinating misfire, at least in the form that it is presented, feeling simultaneously pinched and sprawling; bizarre editing and dreamy plotting at least make it uniquely memorable, and Beatty's welcome return to the screen as Hughes is worth the price of admission. The missing chunks of plotting, and an underutilised supporting cast, suggest a much longer and ambitious cut of the movie must exist; I hope and wish for a 'director's cut' to eventually emerge.

There wasn't much to the music of the title song, but the lyrics were cool.

Beatty is gold.

Viewed November 27, 2016.

Despite ham-fisted direction, annoying cameos and a lack of chemistry between the young couple, the film still successfully interrogates themes of The Male Gaze and Patriarchy, as well as 'if you're a star, they'll let you in'.

Rules Don't Apply would have been better already if it was put together chronologically. But it wasn't. There was no chemistry between Collins and Ehrenreich and the weird one-night stand should not have happened. The story is off and somehow I feel only Broderick made an effort. 42/100.

A long gestating pet project of Beatty's, but aside from a few unusually staged moments (i.e. Beatty and Ehrenreich eating in front of a plane), it's a rather faceless comedy/drama that simply plods along without any signs of direction or purpose. It is neither a Hughes biopic or a social satire, or a nostalgic rom-com ala Woody Allen. The central romance is tedious and becomes creepy with Hughes' involvement, and Beatty fails to find a graceful rhythm to compensate for its inherent clunkiness.

Hi plane!!!! 💗💗💗

After decades of absences Beatty returned with this huge passion project. It feels heavily trimmed down to fit the running time, The result is a disjointed mess with absolutely horrible editing. Beatty himself is very convincing as Hughes. But the movie is actually stronger before his appearance, when it focusses on the romance between a young actress and her driver and Hughes is a domineering but never seen shadow. After that it becomes unfocussed, part romance still part biopic.

http://www.pluggedin.com/movie-reviews/rules-dont-apply

Warren Beatty, in his first film in 15 years, plays Howard Hughes with the seductive charm, sneaky intelligence and bugfuck eccentricity that this marvelous, mysterious enigma deserves. Who wouldn't want to build a movie around him? But Beatty, as actor, director and screenwriter, has chosen to make Hughes a supporting role.

Aside from being a pantscreamer appreciator (I might be completely alone with this, but I just think it's extremely adorable and hot) I found little that grasped at my attention. This kinda-biopic-not-really begins with lighting speed edits - scenes last as little as 10 seconds during the first fifteen minutes of the movie. Then the momentum dies down and you are stuck with painstakingly long scenes that take up to 10 minutes for the remaining TWO HOURS. Feels artsy for the sake of being artsy.

Perfectly watchable, but it doesn't have much to offer. Except a chance to get a peek at this new fella with the weird name who's going to be playing a young Han Solo.

in general, inconsistent; with decent moments(in direction, pace, acting, the story evolvement) mixed with very irregular moments(in the same aspects). The love story is one of the few well evolved points; much of what surrounds Hughes in the story looks shady, not very well told; the edition, in certain moments, end up taking the good of what was in the scenes; shady transition between the point where the main characters are ambitious young people to where they live with responsibilities

RULES DON'T APPLY builds up a lot of goodwill in its first half--a charming romance between two straight arrows--before squandering it all on a loopy digression into the eccentric behavior of Howard Hughes. It is the best and worst of star-driven projects: the young lovers' story clearly conveys something very personal about Beatty and the turgid sexual mores of the 1950s, while the Howard Hughes stuff is pure overreaching vanity. The title song is criminally underrated.