Set mostly in a flashback to 1973 New York City, this is at heart not a coming of age movie but a coming to terms movie. From the opening scenes in Paris, we're set up by a voice-over narrative to expect terrible events which would change a boy's life. And, true to its word, we are delivered a series of disasters, many of which are prefigured in a short-handed kind of way. But it doesn't really matter, because you know where the film is heading, and your reaction to the last 15 minutes coming out of the flashbacks will pretty much determine whether you like this film or not. (Note that the ratings here are split pretty dramatically between very positive and very negative.) The things that are right with the film are good, sometimes very good. At the top of the "good" list is Erykah Badu's outstanding performance as a prisoner in the Women's House of Detention , an urban jail with windows over the street, who offers conversation and advice to the young protagonist. Also, the evocative period setting, which puts to shame a lot of films with many times the budget. Finally, there are a few deft touches of humor in the dialog, particularly in the early scenes of school life. The other performances are a bit more uneven. Anton Yelchin, the younger version of Duchony's character, is often winning and natural, but when real crisis hits, I didn't buy his grief and desperation. Not knowing the Robin Williams role, I cringed a bit when he first appeared on screen, but his performance is for the most part fairly restrained -- at least by Robin Williams' standards. Ducovny and wife Tea Leoni were competent but not compelling. We saw this film at a preview that featured a Q&A with Ducovny afterward. He clearly has affection for the material and, if anything, set out to make an even more modest film, budget-wise, than this. This is potentially pretty dicey plot material and could have veered severely wrong, particularly toward sloppy sentimentality. While I don't think the film entirely escaped this, it's certain a better film than, say, the dreadfully manipulative, "The Notebook". If you're not expecting too much and you can appreciate the 70's period setting, you'll probably enjoy this. If you're expecting a genius writer-director first film out of Ducovny -- you will be disappointed. Bottom line: give Ducovny some space and let's wait for his second film before delivering an real judgment on his career as writer-director.
101 Reviews
interesting independent film
dr_braino19 May 2005
We struggle to grow up all our lives. Many grow old without doing the work involved in truly growing up. We mistakenly think that growing up just happens to us, when in fact that very passivity is what causes us to grow old without ever actually maturing. Growing up requires conscious personal effort. House Of D is about such a man, who in middle age, with a 13 year old son, realizes he is beginning to grow old without having grown up. As his son crosses the threshold to manhood, Tom (Duchovny) makes the decision to confront & resolve the issues that caused him to retreat into himself at 13 rather than advancing into real manhood.
I enjoy Duchovny's acting, and he handled his on screen time capably in the second part of the film. However, the establishing scenes were slightly awkward & stilted. The film only begins to show its spirit when we flash back to New York City 1973.
Anton Yelchin portrays the young Tommy, and has a staggering amount of potential to grow into as an artist. Duchovny has a great feel for directing young people, a task known to be notoriously difficult. There are also some embarrassingly terrible performances, from Robin Williams & Tea Leoni. Williams falls off the horse right at the outset of his portrayal of the 'retarded' Pappass and never manages to get back on again. It seems to be partly poor definition in the writing of the character, and partly the actor's failure to connect with & breathe life into him. This despite a clear on screen rapport between himself & Yelchin. It mars what would have otherwise been a better film. Tea Leoni's performance adds nothing to her career or to the film. It isn't a portrayal, rather a thumbnail sketch. Leoni is an actress of limited ability, who needs strong direction to deliver a capable performance. It was a mistake to have her in the film, as she too succeeds in diminishing it, delivering what comes across as a deliberately bad performance. Leoni's appearance also embarrasses because she is Duchovny's wife and one or both of them should've known better than to allow this.
I was disappointed Frank Langella, undoubtedly the best actor in the movie, had so little to do. His few scenes are wonderful. A pleasure to see Orlando Jones, albeit briefly. Erykah Badu's singing is sublime, and she delivers a strong, warm performance.
Other performances ranged from adequate to forgettable.
Most of the music in the film is decent and well placed.
Duchovny has the potential to be a fine director. This was already known to those who enjoyed the episodes of X-Files he directed. Does he expand his directing skills in House of D? Yes. He shows a real flair for directing young actors, which I had never previously suspected. Duchovny scored high with inexperienced young actors, evoking clean, impressive performances, from Yelchin in particular; but low with veterans Williams & Leoni.
The writing is wildly uneven. Inventive, clever, inspired, insightful & touching in places. At other times it fails to ring true, and some of the plot devices are frankly ludicrous. It's almost as though 2 completely different people worked on the screenplay without ever meeting or actually engaging in a collaboration. I found this a little disconcerting at times. I know Duchovny is a better than average writer, so the unevenness of the script, and the bizarre disjointed quality, had me scratching my head more than once. I wonder what the screenplay originally looked like. Did some heavy-duty editing compromise the coherence of the script?
The cinematography was awesome, whether we were looking at Paris at night or a toilet bowl full of cigarette butts. No surprises there when you realize it's the work of Michael Chapman, who has worked with Scorsese, Allen, and many others. He also worked on Duchovny's film "Evolution."
We're at an interesting stage in our psychological evolution. A quiet revolution is taking place as more & more individuals are learning to embrace a new understanding of personal responsibility. People ARE learning to "see the world a little differently" to refer to the tag line. Some have made the hurtle and are seeing, and living in a new way. A larger number of people are resisting making that leap right now. Change is rarely easy. Letting go of old, outmoded ways of seeing & doing things is hard. House Of D is the story of one human being who makes that leap. Achieving personal sovereignty is a crowning experience that many have deprived themselves of. As more of us step forward to claim this privilege of genuine personal autonomy, and society begins to noticeably shift as a result, films like House Of D will be regarded with more understanding & affection.
Duchovny could've traded on his established image & popularity, played it safe, manufactured a piece of typical Hollywood junk, and have everyone pat him on the back. He didn't and I like that about his attitude.
That's part of what's admirable about him. He's willing to take chances and make an ass of himself. He has made mistakes which would finish other actors. Yet he also has courage, intelligence, daring, originality, humor, and most of all, genuine talent, which keeps bringing us back to consider his work, and finding merit in it. Duchovny has cut his directorial teeth on an unconventional, rewarding first film.
I perceive an iconoclastic, Almodovarian streak lurking in Duchovny both as writer and director. It's there, as a delicious undercurrent running through House Of D. I'd love to see him have the confidence to express that side of himself more in the future. To thine own self be true, David.
I enjoy Duchovny's acting, and he handled his on screen time capably in the second part of the film. However, the establishing scenes were slightly awkward & stilted. The film only begins to show its spirit when we flash back to New York City 1973.
Anton Yelchin portrays the young Tommy, and has a staggering amount of potential to grow into as an artist. Duchovny has a great feel for directing young people, a task known to be notoriously difficult. There are also some embarrassingly terrible performances, from Robin Williams & Tea Leoni. Williams falls off the horse right at the outset of his portrayal of the 'retarded' Pappass and never manages to get back on again. It seems to be partly poor definition in the writing of the character, and partly the actor's failure to connect with & breathe life into him. This despite a clear on screen rapport between himself & Yelchin. It mars what would have otherwise been a better film. Tea Leoni's performance adds nothing to her career or to the film. It isn't a portrayal, rather a thumbnail sketch. Leoni is an actress of limited ability, who needs strong direction to deliver a capable performance. It was a mistake to have her in the film, as she too succeeds in diminishing it, delivering what comes across as a deliberately bad performance. Leoni's appearance also embarrasses because she is Duchovny's wife and one or both of them should've known better than to allow this.
I was disappointed Frank Langella, undoubtedly the best actor in the movie, had so little to do. His few scenes are wonderful. A pleasure to see Orlando Jones, albeit briefly. Erykah Badu's singing is sublime, and she delivers a strong, warm performance.
Other performances ranged from adequate to forgettable.
Most of the music in the film is decent and well placed.
Duchovny has the potential to be a fine director. This was already known to those who enjoyed the episodes of X-Files he directed. Does he expand his directing skills in House of D? Yes. He shows a real flair for directing young actors, which I had never previously suspected. Duchovny scored high with inexperienced young actors, evoking clean, impressive performances, from Yelchin in particular; but low with veterans Williams & Leoni.
The writing is wildly uneven. Inventive, clever, inspired, insightful & touching in places. At other times it fails to ring true, and some of the plot devices are frankly ludicrous. It's almost as though 2 completely different people worked on the screenplay without ever meeting or actually engaging in a collaboration. I found this a little disconcerting at times. I know Duchovny is a better than average writer, so the unevenness of the script, and the bizarre disjointed quality, had me scratching my head more than once. I wonder what the screenplay originally looked like. Did some heavy-duty editing compromise the coherence of the script?
The cinematography was awesome, whether we were looking at Paris at night or a toilet bowl full of cigarette butts. No surprises there when you realize it's the work of Michael Chapman, who has worked with Scorsese, Allen, and many others. He also worked on Duchovny's film "Evolution."
We're at an interesting stage in our psychological evolution. A quiet revolution is taking place as more & more individuals are learning to embrace a new understanding of personal responsibility. People ARE learning to "see the world a little differently" to refer to the tag line. Some have made the hurtle and are seeing, and living in a new way. A larger number of people are resisting making that leap right now. Change is rarely easy. Letting go of old, outmoded ways of seeing & doing things is hard. House Of D is the story of one human being who makes that leap. Achieving personal sovereignty is a crowning experience that many have deprived themselves of. As more of us step forward to claim this privilege of genuine personal autonomy, and society begins to noticeably shift as a result, films like House Of D will be regarded with more understanding & affection.
Duchovny could've traded on his established image & popularity, played it safe, manufactured a piece of typical Hollywood junk, and have everyone pat him on the back. He didn't and I like that about his attitude.
That's part of what's admirable about him. He's willing to take chances and make an ass of himself. He has made mistakes which would finish other actors. Yet he also has courage, intelligence, daring, originality, humor, and most of all, genuine talent, which keeps bringing us back to consider his work, and finding merit in it. Duchovny has cut his directorial teeth on an unconventional, rewarding first film.
I perceive an iconoclastic, Almodovarian streak lurking in Duchovny both as writer and director. It's there, as a delicious undercurrent running through House Of D. I'd love to see him have the confidence to express that side of himself more in the future. To thine own self be true, David.
A Sort of Homecoming; Duchovny makes a decent film-making debut in a bittersweet coming-of-age fable in NYC
george.schmidt18 April 2005
HOUSE OF D (2005) *** Anton Yelchin, Tea Leoni, David Duchovny, Robin Williams, Erykah Badu, Frank Langella, Mark Margolis, Zelda Williams, Olga Sosnovska, Magali Amadei, Harold Cartier, Orlando Jones, Willie Garson, Stephen Spinella.
A Sort Of Homecoming
David Duchovny is one of my favorite contemporary actors and has been stigmatized by his iconic TV role as FBI agent Fox Mulder, believer of the incredibly unbelievable , on the late, great "THE X-FILES" and makes a gallant attempt to shrug off his alter ego for a smaller, more personal project in hopes to be taken as a serious actor capable of being versatile. In this, his big-screen directorial debut he makes a decent effort.
As an American expat artist living in Paris, Tom Warsaw (Duchovny) faces some skeletons in his closet and decides to tell his gorgeous wife Coralie (Amadei) and his son Odell (Cartier) on Odell's birthday, just what they are, in the middle of the night awakening some irate neighbors. Despite the late evening disturbance Tom begins to tell the story of how he grew up in New York City's Greenwich Village and how the age of 13 truly became his coming of age.
Flashback to 1973 and 13 year old Tommy (Yelchin, late of HEARTS IN ATLANTIS) has a lot on his plate: his forthcoming puberty blues is running parallel to the recent death of his father leaving him with his manic-depressive mother (Leoni, Mrs. Duchovny, in a competent turn) whose melancholy emotional roller-coaster and clinging vine addiction to sleeping pills only adds to Tommy's dilemma of not having any role models let alone family but does have a best friend, a mentally retarded janitor named Pappass (Williams wisely not going overboard in a remarkably restrained and decent performance) who works at the Catholic school he attends and assists in an after-school job as a meat delivery boy for a local butcher. When not palling with Pappass Tommy seeks refuge in the titular edifice that was an actual detention house for women on 10th St. and 6th Avenue where the prisoners were able to shout from their barred windows to the passersby and vice versea. It is here where Tommy encounters Lady Bernadette (soulful singer Badu in a surprisingly strong supporting turn) who counsels the young adolescent about the birds and bees when Tommy develops a crush on the young Melissa (Williams' real-life daughter Zelda, a chip off-the-old block, in a very natural film debut) who lives on the Upper East Side.
The storyline is quasi-biographical according to Duchovny who I met at the opening day screening in New York and is as low-key and self-deprecatingly funny as you would guess from his talk-show appearances and interviews and has the feel of a latter-day John Cheever novella (Duchovny also penned the screenplay) where the eccentric characters and colorful neighborhoods within neighborhoods come alive in a very vivid naturalistic way (Duchovny truly does capture the era with smartly chosen '70s pop/rock songs as well as the sublime production design by Lester Cohen, Ellen Lutter's period costumes that do not caricature the times and veteran cinematographer Michael Chapman's assuredly pristine cinematography. The acting overall is very good particularly the talented young Yelchin who has a very soft, trembly voice that makes it more intimate to actually LISTEN to what he says and his character may be a bit of a wise-ass but he's not a know-it-all troublemaking jerk like most teens are depicted. Williams balances his sweet-natured Pappass with just enough vulnerability without being too cloying and has some nice moments towards the end of the film. Duchovny has a deft touch especially with his actors an almost Eastwoodian touch in the sense that he has not rushed his players but let them flesh out their roles, even the smaller ones by such wonderful veteran character actors such as Margolis as Pappass' alcoholic father, Langella as the passive/aggressive priest/instructor and Jones as a flashy pimp. His pacing is a bit rocky with some odd choices in editing (one sequence after a school dance when Tommy returns home to his angry mother is a tad off) but otherwise is straightforward in his storytelling.
When Tom finishes his story to his family he's encouraged to return home (to give away anymore of the plot would ruin the viewing but let's say it's bittersweet) to rekindle his youth and find out just who he is.
Duchovny should be proud of this labor of love that shows he is a talented artist who has a lot to say and his film-making debut may not be grand but is definitely noteworthy for the next level of being The Artist Formerly Known As Mulder.
A Sort Of Homecoming
David Duchovny is one of my favorite contemporary actors and has been stigmatized by his iconic TV role as FBI agent Fox Mulder, believer of the incredibly unbelievable , on the late, great "THE X-FILES" and makes a gallant attempt to shrug off his alter ego for a smaller, more personal project in hopes to be taken as a serious actor capable of being versatile. In this, his big-screen directorial debut he makes a decent effort.
As an American expat artist living in Paris, Tom Warsaw (Duchovny) faces some skeletons in his closet and decides to tell his gorgeous wife Coralie (Amadei) and his son Odell (Cartier) on Odell's birthday, just what they are, in the middle of the night awakening some irate neighbors. Despite the late evening disturbance Tom begins to tell the story of how he grew up in New York City's Greenwich Village and how the age of 13 truly became his coming of age.
Flashback to 1973 and 13 year old Tommy (Yelchin, late of HEARTS IN ATLANTIS) has a lot on his plate: his forthcoming puberty blues is running parallel to the recent death of his father leaving him with his manic-depressive mother (Leoni, Mrs. Duchovny, in a competent turn) whose melancholy emotional roller-coaster and clinging vine addiction to sleeping pills only adds to Tommy's dilemma of not having any role models let alone family but does have a best friend, a mentally retarded janitor named Pappass (Williams wisely not going overboard in a remarkably restrained and decent performance) who works at the Catholic school he attends and assists in an after-school job as a meat delivery boy for a local butcher. When not palling with Pappass Tommy seeks refuge in the titular edifice that was an actual detention house for women on 10th St. and 6th Avenue where the prisoners were able to shout from their barred windows to the passersby and vice versea. It is here where Tommy encounters Lady Bernadette (soulful singer Badu in a surprisingly strong supporting turn) who counsels the young adolescent about the birds and bees when Tommy develops a crush on the young Melissa (Williams' real-life daughter Zelda, a chip off-the-old block, in a very natural film debut) who lives on the Upper East Side.
The storyline is quasi-biographical according to Duchovny who I met at the opening day screening in New York and is as low-key and self-deprecatingly funny as you would guess from his talk-show appearances and interviews and has the feel of a latter-day John Cheever novella (Duchovny also penned the screenplay) where the eccentric characters and colorful neighborhoods within neighborhoods come alive in a very vivid naturalistic way (Duchovny truly does capture the era with smartly chosen '70s pop/rock songs as well as the sublime production design by Lester Cohen, Ellen Lutter's period costumes that do not caricature the times and veteran cinematographer Michael Chapman's assuredly pristine cinematography. The acting overall is very good particularly the talented young Yelchin who has a very soft, trembly voice that makes it more intimate to actually LISTEN to what he says and his character may be a bit of a wise-ass but he's not a know-it-all troublemaking jerk like most teens are depicted. Williams balances his sweet-natured Pappass with just enough vulnerability without being too cloying and has some nice moments towards the end of the film. Duchovny has a deft touch especially with his actors an almost Eastwoodian touch in the sense that he has not rushed his players but let them flesh out their roles, even the smaller ones by such wonderful veteran character actors such as Margolis as Pappass' alcoholic father, Langella as the passive/aggressive priest/instructor and Jones as a flashy pimp. His pacing is a bit rocky with some odd choices in editing (one sequence after a school dance when Tommy returns home to his angry mother is a tad off) but otherwise is straightforward in his storytelling.
When Tom finishes his story to his family he's encouraged to return home (to give away anymore of the plot would ruin the viewing but let's say it's bittersweet) to rekindle his youth and find out just who he is.
Duchovny should be proud of this labor of love that shows he is a talented artist who has a lot to say and his film-making debut may not be grand but is definitely noteworthy for the next level of being The Artist Formerly Known As Mulder.
A caring heartfelt story.....
Figaro3014 May 2004
What can I say....this movie was fun. In addition to Robin Williams realistic portrayal of a retarded man, Anton Yelchin's innocent and sweet character of Tommy and the sometimes humorous but also emotional storyline, the character of "Lady" played by Erykah Badu was extremely well done....she was a strong presence in the movie.
This movie will have you laughing, crying and then laughing over and over again. It's been about a week since I've first seen it and I can't wait to experience it for the second time when it gets into theaters.
While it may not be worthy of an Oscar, it certainly is something of which David should be proud.
Bravo David!!!
This movie will have you laughing, crying and then laughing over and over again. It's been about a week since I've first seen it and I can't wait to experience it for the second time when it gets into theaters.
While it may not be worthy of an Oscar, it certainly is something of which David should be proud.
Bravo David!!!
I enjoyed it
davidmckay3716 April 2005
I had been wanting to see this film since I had the chance to see the preview. I must say I enjoyed it. The pacing may have been a bit off, but for what it was, it did an excellent job.
I think my biggest problem with this film is David. Not that it was a bad performance, just that he had a tough job competing with the kid who played the younger version of himself. Everyone gave great performances, even his wife whom I usually don't care for. The movies first half was great, but lacked in the last twenty minutes. Honestly, it felt like it could have gone longer, perhaps a little more in-depth.
Still, good job.
I think my biggest problem with this film is David. Not that it was a bad performance, just that he had a tough job competing with the kid who played the younger version of himself. Everyone gave great performances, even his wife whom I usually don't care for. The movies first half was great, but lacked in the last twenty minutes. Honestly, it felt like it could have gone longer, perhaps a little more in-depth.
Still, good job.
Why didn't anyone like this movie
regular149 August 2005
Warning: Spoilers
For me, this was one of the top movies i wanted to see this year. I've never been a big fan of Duchovney but i must say when i saw the trailer i was particularly excited. But i got on IMDb.com and saw the 6/10 rating was very let down. well now having finally seen the movie i must express how much i enjoyed it. Certain points in the beginning are shaky like why his kid sleeping on a bench. and why did his mother walk in on him in the shower... and why is he shooting cigarette butts with his pee. Well all kids are different i guess. But i particularly loved erika badu's part as the woman in the house of D. her performance alone was worth watching. The movie is a roller-coaster of events all of which you say to yourself "oh thats bad." Duchovney does a great job creating 13 year old confusion and when young Tom tell his mother they have to move because he made a fool of himself around school you begin recalling your own past saying... "yeah i made a fool of myself a lot" and you say it again when he shows up to the dance in all orange. I say Duchovney's movie is a winner... so why didn't anyone like it?
A well-told, heartfelt story
yoder37528 April 2005
I was fortunate enough to happen upon two free tickets to a sneak preview here in La Jolla. I enjoyed the movie thoroughly. The audience I was a part of was audibly drawn into the film. The plot is completely character-driven, revolving around a very honest 13-year-old. The honesty of this character--a unique portrayal of any boy this age--was portrayed sincerely, and as such the film read as very heartfelt. The sincerity is most profoundly seen in his relationship with a developmentally disabled adult, Pappass (Robin Williams), purely for the sake of companionship and not out of sympathy or having been forced into the friendship. In a time when the phrase "that's so retarded" is so ubiquitously used as a put-down, it was refreshing to see a character created who is not at all fazed by the stigma of befriending someone who is disabled or 30 years older than himself (let alone both). Each character seemed to be written with such empathy that you could be drawn into any one of their stories, if the movie so followed those stories. To those who call this film trite, I argue that this heartfelt empathy makes it unique among mainstream films whose screenplays contain characters so generalized that the actors must create any depth for their characters.
All in all, I enjoyed watching this film and would recommend it to my friends. And to those looking for an excuse to dismiss my 9/10 vote, no I am not a David Duchovny fan. I hardly even saw 3 episodes of the X-Files. I just liked the film. :-)
All in all, I enjoyed watching this film and would recommend it to my friends. And to those looking for an excuse to dismiss my 9/10 vote, no I am not a David Duchovny fan. I hardly even saw 3 episodes of the X-Files. I just liked the film. :-)
Very good... however....
cwhyel12 November 2005
I would recommend seeing this movie for one reason only: it is head and shoulders above the majority of garbage that infests our cineplexes and video rental outlets.
Robin Williams plays one of the most intelligent mentally retarded men I have ever witnessed. His prosthetic makeup did not serve him well.
David Duchovony was so laid back that I kept waiting for him to fall asleep.
To wit, they both got on my nerves but to be fair, their performances, along with the rest of the cast, were very good.
Their were some things that you could see coming, and it was bits and pieces of "old hat. " Still, I respect the producers for their guts doing a movie that was rather different in many aspects.
My pickiness aside, this is very good and worth the time and money to see.
Robin Williams plays one of the most intelligent mentally retarded men I have ever witnessed. His prosthetic makeup did not serve him well.
David Duchovony was so laid back that I kept waiting for him to fall asleep.
To wit, they both got on my nerves but to be fair, their performances, along with the rest of the cast, were very good.
Their were some things that you could see coming, and it was bits and pieces of "old hat. " Still, I respect the producers for their guts doing a movie that was rather different in many aspects.
My pickiness aside, this is very good and worth the time and money to see.
wonderful movie
dreamer50111 May 2004
I had the opportunity to see this on Sunday at the Tribeca Film Festival. It's a simple but heartwarming fable about a young boy growing up in 1970s New York City. The acting was wonderful all around, but the standouts were Anton Yelchin (who will one day be a star, I predict) and Erykah Badu. Robin Williams and Tea Leone were also very good. I wouldn't be surprised if Robin gets some Oscar buzz for this role.
I went with my mother and a friend, and all three of us enjoyed it immensely. A very good first effort from David Duchovny, who proves he's not just that X-Files guy.
Highly recommend.
I went with my mother and a friend, and all three of us enjoyed it immensely. A very good first effort from David Duchovny, who proves he's not just that X-Files guy.
Highly recommend.
Another coming of age story filled with clichés that manages to do some good
Rodrigo_Amaro5 August 2012
I remember Spielberg quoting something that goes something like this: "Everything's already filmed, there's nothing much to do nowadays in terms of film". Regardless if I quote him rightly or not, what's he saying is quite right. There's no stories left to tell anymore, and I add this, if there is maybe the studios are not interested in developing, or writers are not selling their materials the way it should be, they always have to alter something. What's "House of D." has to do with this statement? Well, it's a film that looks, sounds and resonates as something already made far too many times before. So, here's another coming of age flick with a good cast, thoughtful messages to present, heavily dosed with corny moments.
Directing and acting in this, David Duchovny begins his story with his character, a young musician living in Paris, telling stories of his youth (now played by Anton Yelchin) and his friendship with a mental disabled man (Robin Williams, wait a minute. "Jack" again? That was better though), and the many things that occupies a boy's mind and body when he reaches the adolescence. No surprises, you can guess all sorts of problems he'll face here. First love, friendship tested, disagreements in the family because the boy's growing up, etc. All of that exists in so many (and better!) flicks that the only new pleasure in seeing "House of D." is some of the performances and some of the unreal situations presented.
Audiences can enjoy this and see much more than just a simple film? Sure, they can. There's valuable life lessons in all what happens with the main character when young, that made him what he is in the future, through long talks with a woman in a penitentiary (Erykah Badu), best moments of the film where she teaches many things about life. There's plenty of cute and pleasant moments enriched with a potent and wonderful soundtrack (the highest point of the film is when Allman Brothers Band's "Melissa" starts to play, Yelchin's character selected it to dance with a crush of his named...Melissa!) but there isn't much life in this. The clichés are wasted, I've seen it enough times. If you haven't it, of course you'll enjoy it more than I did and maybe call it one of the greatest films ever made, thinking why it wasn't so much of a hit. Answer: because of everything I've said.
If "House of D." works with some efficiency is because of Anton Yelchin, who carries the film with a certain innocence, rare to find these days, and some aspects that makes us remind of ourselves in a distant part of our lives. Duchovny, Frank Langella, Badu and Téa Leoni have all good roles, they make of this something more than decent. The wrong note comes to Yelchin's big partner that behaves like a kid Robin Williams, with wrong facial expressions/excessive make up to look younger. He's quite forgettable here despite having some good scenes.
It's something good but never great. 6/10
Directing and acting in this, David Duchovny begins his story with his character, a young musician living in Paris, telling stories of his youth (now played by Anton Yelchin) and his friendship with a mental disabled man (Robin Williams, wait a minute. "Jack" again? That was better though), and the many things that occupies a boy's mind and body when he reaches the adolescence. No surprises, you can guess all sorts of problems he'll face here. First love, friendship tested, disagreements in the family because the boy's growing up, etc. All of that exists in so many (and better!) flicks that the only new pleasure in seeing "House of D." is some of the performances and some of the unreal situations presented.
Audiences can enjoy this and see much more than just a simple film? Sure, they can. There's valuable life lessons in all what happens with the main character when young, that made him what he is in the future, through long talks with a woman in a penitentiary (Erykah Badu), best moments of the film where she teaches many things about life. There's plenty of cute and pleasant moments enriched with a potent and wonderful soundtrack (the highest point of the film is when Allman Brothers Band's "Melissa" starts to play, Yelchin's character selected it to dance with a crush of his named...Melissa!) but there isn't much life in this. The clichés are wasted, I've seen it enough times. If you haven't it, of course you'll enjoy it more than I did and maybe call it one of the greatest films ever made, thinking why it wasn't so much of a hit. Answer: because of everything I've said.
If "House of D." works with some efficiency is because of Anton Yelchin, who carries the film with a certain innocence, rare to find these days, and some aspects that makes us remind of ourselves in a distant part of our lives. Duchovny, Frank Langella, Badu and Téa Leoni have all good roles, they make of this something more than decent. The wrong note comes to Yelchin's big partner that behaves like a kid Robin Williams, with wrong facial expressions/excessive make up to look younger. He's quite forgettable here despite having some good scenes.
It's something good but never great. 6/10
In the Village
jotix10011 December 2006
Warning: Spoilers
Judging by the high rating this film got from IMDb voters, it seems to be artificially pushed upward by a group of David Duchovny's fans. Actors who want to direct easily forget whatever lessons they learned while acting and being directed by professionals. To add to injury, David Duchovny wrote the material for his screen directorial debut, something that could have improved by an experienced writer.
Mr. Duchovny, an actor who made his mark in television, is generous to a fault with his cast. The basic problem was engaging Robin Williams, an actor that without the proper guidance tends to run amok doing his own thing. Pappass is a child tried in a grown man's body that befriends Tommy, the teenager who is the director's alter ego.
The transformation of Tommy into an artist that leaves New York to make a life in Paris is something not to be believed. The emphasis was in the relationship between Tommy as a teen ager and Pappass. We know little about his mother, who is obviously depressed after losing her husband. As a young widow she loses her will to live, even though she has a son to bring up.
The basic fault with the film is that it has all the clichés in the world for being believable.
Mr. Duchovny, an actor who made his mark in television, is generous to a fault with his cast. The basic problem was engaging Robin Williams, an actor that without the proper guidance tends to run amok doing his own thing. Pappass is a child tried in a grown man's body that befriends Tommy, the teenager who is the director's alter ego.
The transformation of Tommy into an artist that leaves New York to make a life in Paris is something not to be believed. The emphasis was in the relationship between Tommy as a teen ager and Pappass. We know little about his mother, who is obviously depressed after losing her husband. As a young widow she loses her will to live, even though she has a son to bring up.
The basic fault with the film is that it has all the clichés in the world for being believable.
I enjoyed this film immensely
kimberlykberg10 March 2005
If you'd like to see an actor go beyond what's expected in his expression of self, then see this movie. Being that Duchovny not only appears in but wrote "House of d" should lend you to the depth this man carries, far beyond any Mulder personification could have introduced. The movie deals with growing up and the challenges a boy must face beyond the stereotypical expectation of getting laid. This movie challenges the audience to feel safe with being uncomfortable. Robin Williams was wonderful as was the rest of the cast being as honest and true to not only their characters, but to the struggle of being human. I commend David for taking such a risk at being real. Besides that he hasn't lost a beat when it comes to applying his dry wit at exactly the right moment. If you like Upside of Anger or Finding Neverland, this movie is for you.
"I need the Dad face one more time"
jaredmobarak22 July 2006
David Duchovny has crafted a beautifully touching film with House of D. It is a coming-of- age story of sorts as his character narrates what happened to him around his thirteenth birthday. Being that his own son, in France, is now turning into a teenager, he feels that the time is finally right to tell his wife the reality of his past. Much happened to the young Tom Warshaw in the days leading to what should have been a joyous date. He was a standout student in his private Catholic school, hanging with his best friend Pappas, his neighbor who was mentally retarded and employed as a janitor at the school. While being 40 years old, Pappas was basically a 13 year old child as well. Once Tom discovered the fairer sex and began hanging out with a girlfriend, his friend realized he just couldn't follow. Emotions run high as Pappas tries to win back the one person who really treats him as a human being by stealing a bike the two have been saving money for. This one event creates a snowball effect as Tom's life spirals out of control, causing him to need to grow up much quicker than he should have to, making tough decisions which ultimately lead to his life in Paris as a new man.
House of D is the feature debut for Duchovny as a writer/director; he proves himself admirably in both positions. The story is nicely balanced between narration and dialogue. We are shown the time of Tom's life that really created him. While the story itself is well-written and uses a believable story arc, making what could have been clichéd contrivances work in the final scope of things, it is the acting that really drives the film. It appears Duchovny is an actor's director, getting amazing performances from stalwart thespians as well as capable newcomers. Téa Leoni is great as Tom's mother who has lost her husband and is working as a nurse to try and bring her son up right, yet can't shake the void in her heart left by the loss; Robin Williams deftly handles the challenges in playing Pappas as he doesn't overdo it, (besides the unnecessary fake teeth), this isn't a showy performance, but instead subtle and emotive; Frank Langella does well as the school's reverend, adding a solid disciplinary figure with some nice comic moments; and relative newcomerI believe this is his first starring role Anton Yelchin who balances the angst and premature responsibility for those around him to perfection. Yelchin reminded me of Emile Hirsch, in appearance and personality as both play the older than their years character while still retaining the necessary youth, and both star in the forthcoming Alpha Dog which has garnered good buzz along with an intriguing trailer.
Singer Erykah Badu provides a breakthrough role here as well. She has acted in a couple films before, but here she really shines as Tom's guide on high. Imprisoned in the titular House of D, her voice comes down to Yelchin's character with advice among the other prostitutes yelling to their pimps on the street. Helping with girl problems and issues of respecting those you love, Badu delivers her lines with purpose and meaning through the bar cells with only a mirror shard to see him by. When she teaches Tom how to dance one dusky evening, she provides the music for which to gain rhythm from. The scene is light and touching, sowing the seeds of their relationship and the impact she had, although briefly, on his life. This distant bond culminates in a wonderful moment during the dénouement between her and Duchovny where the weight of his past is finally lifted from his shoulders.
House of D is the feature debut for Duchovny as a writer/director; he proves himself admirably in both positions. The story is nicely balanced between narration and dialogue. We are shown the time of Tom's life that really created him. While the story itself is well-written and uses a believable story arc, making what could have been clichéd contrivances work in the final scope of things, it is the acting that really drives the film. It appears Duchovny is an actor's director, getting amazing performances from stalwart thespians as well as capable newcomers. Téa Leoni is great as Tom's mother who has lost her husband and is working as a nurse to try and bring her son up right, yet can't shake the void in her heart left by the loss; Robin Williams deftly handles the challenges in playing Pappas as he doesn't overdo it, (besides the unnecessary fake teeth), this isn't a showy performance, but instead subtle and emotive; Frank Langella does well as the school's reverend, adding a solid disciplinary figure with some nice comic moments; and relative newcomerI believe this is his first starring role Anton Yelchin who balances the angst and premature responsibility for those around him to perfection. Yelchin reminded me of Emile Hirsch, in appearance and personality as both play the older than their years character while still retaining the necessary youth, and both star in the forthcoming Alpha Dog which has garnered good buzz along with an intriguing trailer.
Singer Erykah Badu provides a breakthrough role here as well. She has acted in a couple films before, but here she really shines as Tom's guide on high. Imprisoned in the titular House of D, her voice comes down to Yelchin's character with advice among the other prostitutes yelling to their pimps on the street. Helping with girl problems and issues of respecting those you love, Badu delivers her lines with purpose and meaning through the bar cells with only a mirror shard to see him by. When she teaches Tom how to dance one dusky evening, she provides the music for which to gain rhythm from. The scene is light and touching, sowing the seeds of their relationship and the impact she had, although briefly, on his life. This distant bond culminates in a wonderful moment during the dénouement between her and Duchovny where the weight of his past is finally lifted from his shoulders.
can Duchovney direct?
Quinoa19847 July 2008
The answer to that question is: "kinda." His directorial debut isn't dishonorable, but it is not something that you'd take right off the shelf to your friend and say "this is good" without the tinge of sarcasm. It's a nostalgic piece of possibly semi-autobiographical storytelling that is full of pap and melancholy and, yes, a retarded Robin Williams performance. But some of the cast, like Duchovney's wife Tea Leoni, pull through reasonably well, and I liked some of the 1970s touches (the soundtrack mostly). It's about a young boy (Anton Yelchin, a rising talent) growing up in Greenwich village with his depressive, widow mother, and his one friend being janitor named Pappas (Williams) who does things even if they aren't the right thing to do (no, not in the sexual way ::frowns::) It's certainly not a bad movie, and I was kept in the mood to watch the movie once I tuned in to see how Yelchin's character would turn out, or how Duchovney, playing the adult version, would come back to reconcile his past. But it's sure to say that Duchovney is more assured as director than writer; a lot of his ideas become cluttered in the thick of the plot, and at times it's very awkward, and not always in the good comedic sensibility (Williams stumbles more than once in the character, though it's hard to say if he's annoying inasmuch as its written for him). I suppose if Duchovney tries again behind the camera, perhaps with someone else's script, he'll fare much better. He made a personal movie, independently done, and it once or twice verges to the touching momentum it wants to build to. It's also ham-fisted and 'meh' for a lot of the time.
Should've been a movie of the week on TV
blakndn4 April 2005
I went in wanting to like it, but y'know a movie is in trouble when it tries too hard to be sentimental. During a screening here in L.A., I began fidgeting in my seat fifteen minutes into it thinking, "Okay, already, something has got to HAPPEN." I found myself looking at background extras to see how many black people with afros I'd see to remind the audience that this was the '70's. I love coming of age stories where I see characters showing me their world with fresh eyes, and sadly, I didn't care in this one.
Tea Leoni always annoys me in any movie she's in. Every scene with her dragged the story, and there's only so many forced "funny antics" I can watch with Robin Williams and the lead kid until I'm ready to walk out. I only stayed to see how bad it got. Of course, there were some scenes where I felt an emotional pull. This was toward the end where Erykah Badu the "Rapunzel with an afro"--to quote DD--tells the boy to run away from his problems. But the build up to that moment was too long, and by then you already knew his life turns out fine. Too bad. As soon as it was over, and DD stepped on stage for a Q&A, I turned to my partner and said, "This is not going to make money. It would better be marketed for television where a huge audience would watch it to get away from Reality TV".
It helps to be DD and have friends to connect you with folks to get this made. I'm sure there's some poor schmuck out there with a better story who will never get a chance to get a movie made. Too bad. DD told the audience that he lost funding several times, up until the moment it came to do principal photography. But believe me, he had it easier than most. At least he got in a room with someone to convince them to fund this poor thing.
Tea Leoni always annoys me in any movie she's in. Every scene with her dragged the story, and there's only so many forced "funny antics" I can watch with Robin Williams and the lead kid until I'm ready to walk out. I only stayed to see how bad it got. Of course, there were some scenes where I felt an emotional pull. This was toward the end where Erykah Badu the "Rapunzel with an afro"--to quote DD--tells the boy to run away from his problems. But the build up to that moment was too long, and by then you already knew his life turns out fine. Too bad. As soon as it was over, and DD stepped on stage for a Q&A, I turned to my partner and said, "This is not going to make money. It would better be marketed for television where a huge audience would watch it to get away from Reality TV".
It helps to be DD and have friends to connect you with folks to get this made. I'm sure there's some poor schmuck out there with a better story who will never get a chance to get a movie made. Too bad. DD told the audience that he lost funding several times, up until the moment it came to do principal photography. But believe me, he had it easier than most. At least he got in a room with someone to convince them to fund this poor thing.
My brain was skeptical but my heart loved it
jillmuscat26 July 2006
A middle-aged American living in Paris re-lives his very difficult, unusual coming of age in early 1970s New York.
Interesting that so many critics roasted this film while so many IMDb users sincerely loved it.
Funny thing is, I agree with both groups! I concede that the plot is often contrived, the adult-looking-back framework is awkwardly handled, and it stretches credulity that Tommy the teen-aged hero would befriend both a mentally challenged janitor and a woman prisoner sitting in the window of the local jailhouse.
And yet...I hung on every word and wept buckets as I haven't done in years. Some of the reasons are personal and subjective: I'm the mom of a precocious boy just a little younger than the hero. I'm the same age as David Ducovny, grew up in NYC and share his nostalgia for a pre-Gentrification NY that was scruffier, more colorful and in some ways more fun than the cleaned-up, ridiculously overpriced city of today.
But I also think the critics snubbed a film that really has a lot going for it. Anton Yelchin who plays Tommy the boy is a remarkably gifted and appealing actor; Tea Leoni seemed very real as his widowed mother, a loving woman driven over the edge by difficult circumstances; and though I think Robin Williams is sometimes way over the top, he was very moving as the boy's simple-minded but brave friend. Erykah Badu was another stand-out, soulful and hilarious as Tommy's wise jailhouse pal.
All these characters are underdogs, very sympathetic and beautifully portrayed underdogs, and that's why I think this is such an effective tear-jerker if not a great work of art.
Interesting that so many critics roasted this film while so many IMDb users sincerely loved it.
Funny thing is, I agree with both groups! I concede that the plot is often contrived, the adult-looking-back framework is awkwardly handled, and it stretches credulity that Tommy the teen-aged hero would befriend both a mentally challenged janitor and a woman prisoner sitting in the window of the local jailhouse.
And yet...I hung on every word and wept buckets as I haven't done in years. Some of the reasons are personal and subjective: I'm the mom of a precocious boy just a little younger than the hero. I'm the same age as David Ducovny, grew up in NYC and share his nostalgia for a pre-Gentrification NY that was scruffier, more colorful and in some ways more fun than the cleaned-up, ridiculously overpriced city of today.
But I also think the critics snubbed a film that really has a lot going for it. Anton Yelchin who plays Tommy the boy is a remarkably gifted and appealing actor; Tea Leoni seemed very real as his widowed mother, a loving woman driven over the edge by difficult circumstances; and though I think Robin Williams is sometimes way over the top, he was very moving as the boy's simple-minded but brave friend. Erykah Badu was another stand-out, soulful and hilarious as Tommy's wise jailhouse pal.
All these characters are underdogs, very sympathetic and beautifully portrayed underdogs, and that's why I think this is such an effective tear-jerker if not a great work of art.
Great film!
kendl-16 March 2006
Warning: Spoilers
I thought this movie was very emotionally charged and mixed with the right amount of comedy. I really loved it. I couldn't hold back the laughter and tears. I don't know how many times I started crying during this film, but at times I was laughing out loud. I don't want to give away too much here but I would call it a great chick flick. Get the girls together, get some pop corn and watch this movie. Robin Williams shows so much emotion as someone with disabilities. Tea Leoni shows the pain and anguish after loosing a husband and raising a teenage son. I could feel how close a mother and son become after loosing a father. David Duchuvany wrote and directed a great film. Have an open mind and open heart and see this film.
Life is about the choices we make and the choices that are made for us...
AltPsych4 April 2005
In his feature debut as both writer and director, Duchovny offers up a heartfelt film filled with well anchored elements of character, humor, ethical dilemmas and choices that pave the roads of our lives.
Strong, well chosen casting with inspiring performances by Anton Yelchin (Tommy), Robin Williams (Pappass) and Erykah Badu (Lady) add to a meaningful story that Duchovny rooted in his childhood neighborhood of New York.
In a world today where the baptism of manhood is often forged with sex, gangs and violence, Duchovny takes us back into an inner battlefield where the true merit of a hero's journey is fought. Within one's self.
I saw it in a screening preview and would be happy to pay to see it again. And this time, I'd bring the teens.
Strong, well chosen casting with inspiring performances by Anton Yelchin (Tommy), Robin Williams (Pappass) and Erykah Badu (Lady) add to a meaningful story that Duchovny rooted in his childhood neighborhood of New York.
In a world today where the baptism of manhood is often forged with sex, gangs and violence, Duchovny takes us back into an inner battlefield where the true merit of a hero's journey is fought. Within one's self.
I saw it in a screening preview and would be happy to pay to see it again. And this time, I'd bring the teens.
Just a regular guys opinion
fasfan7115 October 2005
I have to admit, I was going to pass this movie up on the basis that it was written, directed, and starring David Duchovney. I liked the X-Files, but Duchovney's acting skills are not impressive to me. But it had Robin Williams in it. And I have grown to trust Williams choice in movies. I know that Robin Williams does not accept a movie unless there is something special there. This movie is no exception. If you can suffer through David Duchovney's 'acting' then you're in for a treat. I am very picky about what movies I recommend to people. This may not be the best movie ever made, and I might be a little skewed because it's an original idea. This is a coming of age story. But unlike most coming of age movies, this one has so few the normal clichés'. Sure they are probably all there, but since they were disguised I probably just didn't recognize them. Obviously i'm not a professional movie critic. But I would say watch this one and ignore the fact that Duchovney's acting skills may not be Oscar worthy. The rest of the cast do an amazing job. And the story is interesting without being overly dramatic.
Moving, sweet, and deeply human
foxsong14 May 2004
Of course I went into the premiere at the Tribeca Film Festival hoping to like it. Still, I'm not sure I would have liked anything on the screen just because it was David's; I have a highly-developed sense of being able to cringe in empathetic embarrassment when someone I like royally screws something up. So while I wanted to like what I saw, I also prayed I wouldn't have to cringe anywhere along the line.
I needn't have worried. It's a lovely piece of work. It's just sweet enough to grab at your heart; it's just gritty enough to have its feet firmly on the ground. The writing is 'lean' in the best sense of the word: there is not an ounce of fluff on it; nothing gratuitous that was tossed in for the easy laugh or for the cheap pathos of the moment. Every word in the script, every shot in every scene, earned the right to be there.
What I loved about David's writing in his two X-F eps, I loved here too. It's character-driven, not plot-driven; so while he definitely has an idea of the story arc, rather than having a sense that he molded the characters' actions to fit the plotline, you feel he presented these characters with this situation and let them tell him how they handled it. Because of this,
you don't see actors reading lines -- you see living, breathing people, having lives. In many films you can spot one or two actors who achieve this through their own talents, but when it's everybody in the production, you have to assume it was the writing and direction that gave them their wings.
These people must have loved working for him. He has said that he didn't really have a hard idea of how the lines were supposed to read or how the scenes were supposed to be played; he just wrote down the words and let the actors take them. And he was smart enough to assemble a group of actors who could not just take them but could run with them. If Anton Yelchin in particular is not considered for some awards for this performance, it will be very surprising indeed.
The camera work and editing are marvelous. Again, he was smart enough to hire very good people, but we saw the evidence of his good eye in those two X-F eps, and it's a cinch he didn't have to hire those people to make up for anything he was lacking. Right from the get-go, the visuals of the opening scenes are so engaging, and it stays that good throughout. Like the writing, the cinematography and production are very purposefully done, and all work toward achieving a particular effect.
So, okay. It wasn't as good as I hoped it would be... it was better. :-)
I needn't have worried. It's a lovely piece of work. It's just sweet enough to grab at your heart; it's just gritty enough to have its feet firmly on the ground. The writing is 'lean' in the best sense of the word: there is not an ounce of fluff on it; nothing gratuitous that was tossed in for the easy laugh or for the cheap pathos of the moment. Every word in the script, every shot in every scene, earned the right to be there.
What I loved about David's writing in his two X-F eps, I loved here too. It's character-driven, not plot-driven; so while he definitely has an idea of the story arc, rather than having a sense that he molded the characters' actions to fit the plotline, you feel he presented these characters with this situation and let them tell him how they handled it. Because of this,
you don't see actors reading lines -- you see living, breathing people, having lives. In many films you can spot one or two actors who achieve this through their own talents, but when it's everybody in the production, you have to assume it was the writing and direction that gave them their wings.
These people must have loved working for him. He has said that he didn't really have a hard idea of how the lines were supposed to read or how the scenes were supposed to be played; he just wrote down the words and let the actors take them. And he was smart enough to assemble a group of actors who could not just take them but could run with them. If Anton Yelchin in particular is not considered for some awards for this performance, it will be very surprising indeed.
The camera work and editing are marvelous. Again, he was smart enough to hire very good people, but we saw the evidence of his good eye in those two X-F eps, and it's a cinch he didn't have to hire those people to make up for anything he was lacking. Right from the get-go, the visuals of the opening scenes are so engaging, and it stays that good throughout. Like the writing, the cinematography and production are very purposefully done, and all work toward achieving a particular effect.
So, okay. It wasn't as good as I hoped it would be... it was better. :-)
Unemployed Critic's tasteless review
wkingsley15 March 2006
While the "unemployed critic's" review seems well rehearsed, it's a pity that he/she seems to rate every movie according to it's adherance to the normal dramatic movie "syntax". Most prevalent in the review was the "critic's" mention of the scene where Tommy fishes the cigarette butts out of the toilet as "...of such immediate poignancy, which cannot penetrate his (director's) stilted direction and are left to die in front of a rudely snickering audience" Perhaps one should consider that such realistic deviance from the usually expected 'cushy-music moment' is an intended illustration of the real vs. surreal moment that such a scene would be in any actual life.
I thought the movie was great. Not your typical "Forrest Gump", but artfully detached and thus successfully emotion provoking.
Go Duchovny.
I thought the movie was great. Not your typical "Forrest Gump", but artfully detached and thus successfully emotion provoking.
Go Duchovny.
Another lame, self-indulgent story of self discovery
slake0930 November 2008
An American boy goes to Paris after his mother commits suicide, becomes and artist and then discovers himself and returns to the States so he can make things right with his former friends.
I have to think that the people who are rating this movie so highly are all X-Files fans, even though there are no aliens or serial killers in it. Don't be fooled, this movie blows chunks.
The story is incoherent, with little or no explanation of what people are doing or why. When you do get an explanation, it doesn't fit the story that went before it. What it does is bore you. For all the acting talent in the film, it just isn't interesting. I spent the whole movie wondering when sex-addict Duchovny was going to bang someone. Maybe he was doing it behind the scenes; they should have filmed that instead.
What comes across is a story of a self-obsessed artist worrying about minor incidents in his life and wanting to make them right somehow - even though they didn't seem that wrong to begin with. There aren't any particularly interesting or shocking revelations, despite the mention of a big secret in the first few minutes. It's just a guy thinking that his life is as interesting to you as it is to him. It's not.
I saw in the trivia that Duchovny claims he wrote the script in a week, that's entirely believable. The guy can act, there's no doubt, but writing and directing are obviously beyond his talents.
Why Hollywood keeps greenlighting these self-discovery stories is beyond me. I discover myself in the shower every morning but I don't bother making a movie about it. Mine would probably be better than this one, though; at least there would be some nudity.
I have to think that the people who are rating this movie so highly are all X-Files fans, even though there are no aliens or serial killers in it. Don't be fooled, this movie blows chunks.
The story is incoherent, with little or no explanation of what people are doing or why. When you do get an explanation, it doesn't fit the story that went before it. What it does is bore you. For all the acting talent in the film, it just isn't interesting. I spent the whole movie wondering when sex-addict Duchovny was going to bang someone. Maybe he was doing it behind the scenes; they should have filmed that instead.
What comes across is a story of a self-obsessed artist worrying about minor incidents in his life and wanting to make them right somehow - even though they didn't seem that wrong to begin with. There aren't any particularly interesting or shocking revelations, despite the mention of a big secret in the first few minutes. It's just a guy thinking that his life is as interesting to you as it is to him. It's not.
I saw in the trivia that Duchovny claims he wrote the script in a week, that's entirely believable. The guy can act, there's no doubt, but writing and directing are obviously beyond his talents.
Why Hollywood keeps greenlighting these self-discovery stories is beyond me. I discover myself in the shower every morning but I don't bother making a movie about it. Mine would probably be better than this one, though; at least there would be some nudity.
I really, really liked it.
singitwithmenow22 April 2005
House of D is a fine film with a lot of humor and many touching moments.
I saw a showing of it in Cambridge and, while it was not very well attended, the audience who was there seemed to enjoy it. There was a lot of laughter at appropriate moments and applause at the end. Also, the comments I overheard were all positive.
The movie isn't perfect, but the writing is so fresh and and powerful. It seems not enough good is being said about it, perhaps due to lack of courage to go against some of the important names, but what do I have to lose? I thought Tea Leone's performance was heartfelt and painfully accurate in her portrayal of a young mother who'd recently lost her husband.
Every shot of Erykha Badu was beautiful, as well. I never realized what an amazing face that woman has.
There were moments of sheer brilliance, in my opinion, that I won't spoil in this space. Moments where boyhood and manhood are juxtaposed and the struggle between the two physically hurts.
All in all, I felt it was very real, very touching, and very well done. The mixture of comedy and drama is as it is life, tied together with strands of reality.
I would recommend you go to see this film with an open heart and mind. I don't think you'll be disappointed.
I saw a showing of it in Cambridge and, while it was not very well attended, the audience who was there seemed to enjoy it. There was a lot of laughter at appropriate moments and applause at the end. Also, the comments I overheard were all positive.
The movie isn't perfect, but the writing is so fresh and and powerful. It seems not enough good is being said about it, perhaps due to lack of courage to go against some of the important names, but what do I have to lose? I thought Tea Leone's performance was heartfelt and painfully accurate in her portrayal of a young mother who'd recently lost her husband.
Every shot of Erykha Badu was beautiful, as well. I never realized what an amazing face that woman has.
There were moments of sheer brilliance, in my opinion, that I won't spoil in this space. Moments where boyhood and manhood are juxtaposed and the struggle between the two physically hurts.
All in all, I felt it was very real, very touching, and very well done. The mixture of comedy and drama is as it is life, tied together with strands of reality.
I would recommend you go to see this film with an open heart and mind. I don't think you'll be disappointed.
Yelchin makes this film.
cwells-527 November 2005
I've seen worse films. Duchovony (sp?) creates an interesting way to tell a story with his screenplay. I appreciated that. I also appreciated the varied character types that surrounded the leading character. However, I don't think Robin Williams or Tea Leoni or Duchovony himself made this movie. It was undoubtedly Anton Yelchin. This young man showed that he could carry a motion picture. He really amazed me with his ability to express such a wide range of emotions. He was as funny and quick-witted during interplay with Williams and torn to bits as any teen would be when his whole life falls apart. I was thrilled to see him growl and cry. Excellent acting and a beautiful shot from beneath him during that moment. I look forward to more work by this young man. He outdoes DeCaprio in my book.
Just Awful.
pw6014 June 2005
Unfortunately House of D is just awful, with a ridiculous plot, terrible writing, some mediocre acting, and in fact just about everything else about it is sub-par.
Tom flees NYC to somehow survive as a lone child in Paris, and manages to convince the beautiful Parisian girl he eventually marries that he's French, despite a poor grasp of her language. She's shocked when years later he reveals his "secret" to her! Riiiight!
He then "gifts" his tale of woe to his own son, and who we are expected to believe thinks that's just the greatest birthday gift a dad can give his 13 year old boy. If only such things were so easy! David Duchovny miscasts his own wife Tea Leoni in the role of his mother and strikes out yet again. Leoni makes me laugh as a comic but she's just plain wrong for this role.
One of the problems with that is none of the characters are sympathetic. I just didn't give a damn what happened to any of them. I did rather hope that Robin Williams and his trademark "child in a grown-up's body" schtick would fall into a Village pothole, but alas, it was not to be and we had to endure his simpering performance all the way.
Anton Yelchin and William's daughter Zelda were not bad, but I suspect the rave reviews others are giving them is simply because they weren't anywhere near as bad as everyone else in this movie. They weren't great, let me put it that way.
There are so many silly and contrived aspects to this film - Erykah Badu, the bicycle, the Catholic school and it's staff of morons, the conveniently stupid characters, etc - that this review would go on for ever, so I'll just finish up by saying that House of D is a very poor movie, and I'm almost embarrassed for Duchovny.
The thing that really annoys me is how I was so strongly encouraged by online "friends" to see this that I traveled a long way to do so.
I would not have been so annoyed that this movie is so bad if I'd just wasted a couple of hours down at the local movie theater, but instead I lost a whole day, and discovered that my so-called "friends" are either stupid or dishonest, because this is an awful movie!
Tom flees NYC to somehow survive as a lone child in Paris, and manages to convince the beautiful Parisian girl he eventually marries that he's French, despite a poor grasp of her language. She's shocked when years later he reveals his "secret" to her! Riiiight!
He then "gifts" his tale of woe to his own son, and who we are expected to believe thinks that's just the greatest birthday gift a dad can give his 13 year old boy. If only such things were so easy! David Duchovny miscasts his own wife Tea Leoni in the role of his mother and strikes out yet again. Leoni makes me laugh as a comic but she's just plain wrong for this role.
One of the problems with that is none of the characters are sympathetic. I just didn't give a damn what happened to any of them. I did rather hope that Robin Williams and his trademark "child in a grown-up's body" schtick would fall into a Village pothole, but alas, it was not to be and we had to endure his simpering performance all the way.
Anton Yelchin and William's daughter Zelda were not bad, but I suspect the rave reviews others are giving them is simply because they weren't anywhere near as bad as everyone else in this movie. They weren't great, let me put it that way.
There are so many silly and contrived aspects to this film - Erykah Badu, the bicycle, the Catholic school and it's staff of morons, the conveniently stupid characters, etc - that this review would go on for ever, so I'll just finish up by saying that House of D is a very poor movie, and I'm almost embarrassed for Duchovny.
The thing that really annoys me is how I was so strongly encouraged by online "friends" to see this that I traveled a long way to do so.
I would not have been so annoyed that this movie is so bad if I'd just wasted a couple of hours down at the local movie theater, but instead I lost a whole day, and discovered that my so-called "friends" are either stupid or dishonest, because this is an awful movie!
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