Yesterday was a disturbingly long day of observing rather mediocre flicks at Sundance, but I have nonetheless learned one very important fact: Bukkake rules! Uncle Bukkake, that is......
Here are some brief reviews of hideous movies splattering on the page for your geek amusement (and to the talk-back gentleman who recently opined that I am a movie plant, I just pray that you never see me on the opposite end of a deposition, scumbag!):
Brief Interviews with Hideous Men: A number of mixed reviews have already surfaced concerning John Krasinski's writing and directorial debut. I had high expectations for this flick, but must report that this movie is sometimes uninspired, frequently incoherent, and constantly pretentious. I am entirely baffled by what Mr. Krasinski intends to say with this feature - nor do I care. My best guess at the plot finds graduate student Julianne Nicholson preparing her thesis which apparently explores the purported effects of feminism on the modern male by way of male test subject interviews (which invariably deviate from said topic). The motives for Ms. Nicholson's "thesis" are never fully developed in this film - and her character's story arc throughout the film remains uninvolving. Instead, the flick devotes countless minutes to directionless vignettes featuring one man after another delivering intriguing (however pointless) diatribes which never progress the rather anemic plotline. Terrific comedians (notably Will Arnett and Will Forte) and capable dramatic actors (Josh Charles, Timothy Hutton, and Mr. Krasinski himself) are wasted in scenes that meandor without relevancy. In fact, several sequences within this film (including extended scenes involving Mr. Charles and Christopher Meloni) are indecipherable and fail to fit within the cinematic matrix of the story. There is no denying that Mr. Krasinski is a talented artist; however, his first film is all passion without a voice.
Shrink/The Informers - I found both films disappointing given the enormous talent involved and overall enthusiasm expressed by both directors prior to the screenings. Both films are intense meditations on Hollywood and loss ('Shrink' is modern, 'The Informers' is set in the early 1980's), as well as the drugs and alcohol, excessive lifestyle, and uncommon loneliness which pervade the Hollywood populace.
In 'Shrink', Kevin Spacey delivers another solid performance as a shrink to the stars who numbs himself with an unhealthy (and likely unrealistic) amount of pot smoking to cope with the sudden loss of his wife. Mr. Spacey is touching and hilarious in this role, and it becomes all too clear early in the film that the movie's title is purposely misleading, given that Mr. Spacey's character is in no position to advise anyone - most importantly, himself. My disappointment ultimately is with the script, which contains numerous one-note characters (other than Mr. Spacey) who provide utility to episodic detours which are primarily uninteresting and without poignancy.
'The Informers' suffers from similar script issues, even though the production and visual images are all first-rate, and the ensemble cast provides solid performances. The movie features drug-addicted rock stars, bi-sexual film directors, a Hollywood studio executive's crumbling family, and a rather gruesome subplot involving the kidnapping of a child. The movie weaves said stories with litte craft and the results are sloppy and often mean-spirited. In particular, the subplot involving Mickey Rourke and his botched attempt to barter a kidnapped child for money is horrific and without any redemptive elements. The final sequence, which takes place on a beach, is perhaps intended to be a profound criticism of the conduct/behavior previously witnessed on screen, but I found the ending to be intellectually dishonest - as this movie is all too comfortable with excess.
Uncle Bukkake is presently consuming scary amounts of alcohol before the 'Moon' screening later tonight.
