Set in 1950s Los Angeles, Richard Hudson (Warburton) is a shrewd car dealer who moves from San Francisco and sets up a used-car dealership. Tiring of this job, he turns the lot over to an ... See full summary »
When the mother of Junior and his younger brother Scooter, twenty-something, dies, they realize they need a woman around the house, since they haven't a clue how to cook or keep house. ... See full summary »
Winner 2013 Silver Bear (Alfred Bauer Prize) Berlin International Film Festival. Vic + Flow Saw a Bear is a darkly mysterious tale of lesbian two ex-cons, Victoria and Florence, trying to ... See full summary »
Set in 1950s Los Angeles, Richard Hudson (Warburton) is a shrewd car dealer who moves from San Francisco and sets up a used-car dealership. Tiring of this job, he turns the lot over to an assistant and starts writing his first movie, The Man Who Got Away. It turns out to be an uncommercial picture chronicling the story of a truck driver who goes berserk, runs over a little girl and dies fending off a platoon of police officers. In making his film, Richard enlists the help of his father-in-law, Leo (Paul Malevich), a washed-up former film director whose notable possession is a Rouault painting of a clown. Through Leo, Richard pitches his idea to the Man (Ernie Vincent), the chief executive of Mammoth Pictures who green-lights the project. Conflict inevitably arises when Richard's obsession for making the movie his way clashes with the Man. Other kooky characters include Richard's mother (Lynette Bennett), a former ballerina who lures her hirsute lug of a son into a comic pas de deux ; ... Written by
The only truly original film I've seen this year, The Woman Chaser takes its cue from its psycho-pulp origins and steeps itself in a brilliantly mordant mise-en-scene. Each shot bursts with ideas and mood, and Patrick Warburton is wonderful. The film is hilarious, and far enough off-center to truly appeal to those who get it. Those who like it will love it, and those who dislike it should probably look a little closer. Somehow simultaneously endearing, shocking and gritty, it's an insider's view of insanity, with all its delightfully f***ed-up characters painted affectionately by the director and his actors. Insightful and funny on the dregs of human behavior and in many ways a multi-layered riff on the nature of movies themselves - this is the one American film I would recommend over any other this year.
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