Miles Massey, a prominent Los Angeles divorce attorney has everything--and in some cases, two of everything. Despite his impressive client list, a formidable win record, the respect of his peers and an ironclad contract (the Massey pre-nup) named after him, he's reached a crossroads in his life. Sated on success, boredom has set in and he's looking for new challenges. All that changes when Miles meets his match in the devastating Marylin Rexroth. Marylin is the soon-to-be ex-wife of his client Rex Rexroth, a wealthy real estate developer and habitual philanderer. With the help of hard charging private investigator Gus Petch, she has Rex nailed and is looking forward to the financial independence a successful divorce will bring. But thanks to Miles' considerable skills, she ends up with nothing. Not to be outdone, Marylin schemes to get even and as part of her plan, quickly marries oil tycoon Howard Doyle. Miles and his unflappable associate, Wrigley, unwittingly dig themselves in ... Written by
Sujit R. Varma
this movie was like having a really cool uncle that hangs out and bags on everyone at the family picnic, and is well-read in all the great books and listens to the great music and even writes great stuff on his own, but is a special treat especially to you and a few friends, but every once or twice he comes up with something that gets everyone's attention yet his brilliance is aimed mostly at the core, an uncle who is very very terrific and sublime and unique but then, later that night you overhear him talking to your father and mother in the living room and he sounds as if he was never cool, or original or genuine or creative or hip before: as if he'd been possessed by mediocrity. this is the feeling I got watching INTOLERABLE CRUETY, and the uncle is the Cohens. the movie was awful, plain awful. there was no story. the so called plot arose about 50 minutes in. the first 10 minutes seemed like a mockery to the usual Cohen's subtle insanity: it was as if i were watching a Leslie Neilson rendition of something Joel & Ethan Cohen would've, years ago, torn from their notebooks and thrown in the garbage. the whole teeth thing with Clooney wasnt funny. Cedric the Entertainer was, or seemed to be, a token for the fans who wanted someone hip and expressive to save the day, as it were; he didn't save anything and seemed as lost as the rest of the cast. Zeta Jones was as wooden as Pinnochio and had absolutely no chemistry with Clooney or anyone else. Edward Hermann (LOST BOYS) was lost in his muddled, vapid role. Julia Duffy looked like an oddball version of Morgan Fairchild and seeing her reminded me of days-gone watching Newhart with my parents and not laughing (while they did). and well... i just don't know what else to say 'cept that the Cohens didnt 'sell out', we must stop using this term. if they made a good movie that flowed and was entertaining then it wouldn't matter what genre it was: it couldve been PRETTY WOMEN PART 2 for all I care; if it's good, I'll like it. the movie wasnt strange enough to be one of theirs and it wasnt normal enough to be enjoyed by Mr. and Mrs. Joe Public. the Cohens made a turkey that, if it were directed by anyone else, wouldn't've gotten the press that it got having them behind the helm in the first place. and since when did a genius producer like Ethan Cohen need Brian Grazer, who is just another bubblegum hitmaker, along for the ride? that's like a Led Zeppelin album being produced by Jimmy Page and Barry Manilow. oh man this movie was really bad. especially sorrowful for me were the moments when the Cohens had some of their stock actors (like Jone's lawyer and Billy Bob) in wasted scenes and thankless cameo roles that seemed as if Joel Cohen had a mediocre daydream that somehow got caught on film. and thank God Capser from MILLERS CROSSING or John Goodman or John Tutturo or Steve Buscemi didn't waste their time, and talents, participating in this sordid mess. i guarentee that INTOLDERABLE CRUELTY will not be remembered as anything but two oddball genius' (the Cohen brothers) trying to fit in with the in-crowd; and sadly enough they couldnt even do that very well... and why should they have to?
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