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Daisy von Scherler Mayer
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Peter, a family man who works for a failing supermarket chain finds his life shaken up by his new boss, Susan, who starts to groom him for an executive position. Money and opportunities are within his grasp, but at what price?
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Jackie-O is anxiously awaiting the visit of her brother home for Thanksgiving, but isn't expecting him to bring a friend. She's even more shocked to learn that this friend is his fiance. It soon becomes clear that Jackie Kennedy's obsession is nothing compared to her obsession with her brother, as it also becomes clear she isn't the only member of the family with problems... Written by
Mike Myers <email@example.com>
The House of Yes is one of my personal favorites. Is it creepy? Yes. Is it funny? No - it's hysterical, at least to those of us accustomed to laughing at things you're not supposed to laugh about - like bizarre social taboo. Younger indie fans may not care for this flick, but The House of Yes is not to be compared with the likes of Chasing Amy. For Parker Posey fans, the film is apples to the oranges of Party Girl, Henry Fool, Clockwatchers, etc.
The House of Yes was adapted from Wendy McLeod's play, so it is a dialogue film with its own language - similar to the Coens' Miller's Crossing. As with Miller's Crossing, the snappy dialogue never misses. While watching The House of Yes, I've caught myself rewinding to catch a phrase I missed because I was still laughing a the preceding gag.
Facial closeups dominate this film, and for reason - the actors' expressions are more telling than the dialogue, delivered flawlessly by every member of the crew - looks you could spread onto a cracker, like when Mama (Bujold) warns her son Marty about Jackie-O's mental state: "I'm going to baste the turkey, and hide the kitchen knives."
The film's biggest surprise: Tori Spelling, as a prudish and naiive Pennsylvanian - perhaps her most believable role to date.
If there were a Cooperstown for comedic acting, this film alone puts Parker Posey into the Hall of Fame.
Highly recommended for the sick-minded and perverse.
Miles Keaton Andrew
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