RANDOM ACTS OF VIOLENCE is an ultra low budget thriller/black comedy about Malcolm - a New Yorker who gets tired of how gentrified, tepid and antiseptic it's all become. So he decides to ... See full summary »
Sidney Young is a disillusioned intellectual who both adores and despises the world of celebrity, fame and glamor. His alternative magazine, "Post Modern Review", pokes fun at the media obsessed stars and bucks trends, and so when Young is offered a job at the diametrically opposed conservative New York based "Sharps" magazine it's something of a shock! It seems "Sharps" editor Clayton Harding is amused by Young's disruption of a post-BAFTA party with a pig posing as Babe. Thus begins Sidney's descent into success - his gradual move from derided outsider to confidante of starlet Sophie Maes. Initially helping him out at Sharps is colleague Alison Olsen, who has her own secret. Wither their friendship? Written by
The book Alison Olsen is reading in the break room when Sidney sits down with her is "Relative Stranger: Piecing Together a Life Plagued by Madness" by Mary Loudon. See more »
Sidney's limo drives westbound past B.B. King's but the next shot is of Times Square which is to the east. See more »
[Upon learning that Sidney writes about Hollywood stars for a magazine]
Hollywood? Sodom and Gomorrah. Now everybody a celebrity. You take out your breasts, you're celebrity.
I think it probably depends on the breasts...
In Poland, someone was famous because they done something. Marie Curie, Pope John Paul...
Yeah, well, they don't make entertainers like that anymore, do they?
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For Reasons Unknown
Written by Brandon Flowers (as Flowers)
Performed by The Killers
Courtesy of Island Def Jam (United States)
Under licence from Universal Music Operations
Published by Universal Music Publishing Ltd See more »
Should have been better but is still a reasonable enough comedy
Sidney Young runs a small alternative culture magazine in London dedicated to popping the bubble of celebrity. He hits the big time when he gets a call from Clayton Harding, the editor of Sharps magazine a glossy celebrity magazine based in New York City. Sidney goes into the job thinking he can be different from the puff pieces the magazine is famous for and somehow has been employed as part of Harding's darker streak and longer for more. Sadly this instinct is dead wrong and Sidney finds himself a joke within the office and a failure within the world of celebrity and movie stars that he needs to work.
HTLF&AP (it's easier) is in the mould of The Devil Wears Prada as it is written as an insider's exposé of celebrity culture from someone who discovered it firsthand. Like that film, this one also struggles to tell this tale within a narrative structure that engages. It is helped though by having the central character be a major part of his own discovery, ie not only do we see the world of superficiality that is the celebrity scene but Sidney is more than a pair of eyes as he fails so impressively to assimilate himself into it. The problem is though that it is not savage enough on the celebrity culture and instead tries to draw a lot more humour from Sidney's various pratfalls and failures. This produces some moments of amusement but at the same time it robs the material of the teeth it really should have had. What is left is a reasonably funny comedy that goes where you expect it to, right down to the pat ending that was always going to be there.
Pegg has enough about his performance to be funny even though this is far below the films he has made with Wright. He makes it work better than it should at times but then he cannot bring out an edge that isn't there in the script. The starry supporting cast may be part of the reason that it doesn't tear at the hand that feeds it and indeed there are some solid turns here. Bridges, Anderson, Fox, Huston and others all do reasonably good work around Pegg. Dunst is at her best when in the "hate" part of her "love/hate" relationship with Pegg and I liked her until the film gradually started to use her character to turn the way we all knew it would go.
Not a brilliant film by any means then but still one that is amusing as it treads familiar paths to a weak ending. Should have been better but is still just about good enough to distract as a comedy.
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