12/29/2023 0 Comments Rag and tag movie(Indeed, Tadpole’s InDigEnt editor, Susan Littenberg, was an assistant editor on this one.) They dictate that actors take care of their own food, transportation, makeup and so on.īut the star system must still exist. The highly publicized rules that Soderbergh distributed to the actors (every cast member mentions them on talk shows, and they’re even printed in the press kit) are determined to create the impression that this production was akin to Dogme95 or InDigEnt movies. And there’s a ridiculously unearned mellow ending. In Full Frontal, with few exceptions, the characters are more like vectors driving the action to cliched epiphanies (for example, a woman is traumatized by a corpse as an adult, just as she was as a child). Movies about lost human connections shouldn’t reduce everything to transactions. of these movies, dashed human hopes seem as inevitable as smog. Presumably the same petty humiliations, put-downs and disappointments occur everywhere.īut in the washed-out L.A. What’s disheartening about both movies is that they strip Los Angeles in general and the movie world in particular of their usual facades – and emerge with a numbing triviality. (Figgis shot four concurrent pieces of action in 90-minute digital takes and had them projected simultaneously in their own separate quarters of the screen.) Mike Figgis (Leaving Las Vegas) was never the icon that Soderbergh has become, but as dead-end L.A.-set experiments go, his TimeCode was more fun and even more experimental than Full Frontal. It’s too early for Soderbergh to be drawing on audience good will with an au courant grab-bag like Full Frontal. With films like Out of Sight and Erin Brockovich, he showed he could use independent attitude and dexterity to enliven mass entertainment, and with The Limey, he demonstrated an appetite for hard-boiled experimentalism in taut entertainment forms akin to ’60s movies like Point Blank and Get Carter.īut Traffic was just a superficial precis of the brilliant British miniseries Traffik (judge for yourself when they both play on the Sundance Channel this month), and Ocean’s Eleven lacked the personality and even the minimal plausibility of the Rat Pack original. Many fans have rushed to treat Soderbergh as a cinematic deity. Katt can be an innovative actor (I think he’s done his best work on TV’s Boston Public), but he’s no Dick Shawn – his deadpan can grow too dead, and his comedy here runs on gastric juices that eat through the already slender membrane of the movie. Baltimore Sun eNewspaper Home Page Close MenuĪnd Nicky Katt overstays his welcome with a too-hip-to-live send-up of an egotistical actor assaying the role of Adolf Hitler.
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