Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart. Written by
Opens with an epigraph from a poem by Polish poet and dramatist Zbigniew Herbert(1924-1998), just like the 2003 novel by Don DeLillo did: "a rat became the unit of currency". The poem was originally published 1983 as "Report from the Besieged City" in the collection "Raport z oblezonego Miasta i inne wiersze" ("Report from the Besieged City and Other Poems"). The novel and the film adaptation both include Herbert's poem and further develop his metaphor of 'rats' as an extended leitmotif. For example in Cronenberg's film character Eric Packer says that he read a poem where "a rat became the unit of currency". Later we see the protestors use rat-like masks, puppets and real dead rats as their main symbolic expression of anti-capitalist criticism. See more »
I wanna a haircut.
The president's in town.
We don't care. We need a haircut. We need to go crosstown.
You will hit traffic that speaks in quarter inches.
Just so I know. Which president are we talking about?
United States. Barriers will be set up. Entire streets deleted from the map.
Show me my car.
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Simply put, this has got to be one of the weirder films I've seen. Like an American version of a French art film. The film builds absolutely no momentum at all. There is exactly one surprising moment. Surprising because, like with a lot of the film, the action made no sense. Yes, you can argue that the film is about the dialog and I'll admit there is probably some profound insights to be found. But what good does insightful dialog make if you're about to fall asleep constantly. Besides, if you argue that the dialog is at the center, then there are plenty of scenes of graphic nature which do absolutely nothing to further the story in itself. As far as the dialog is concerned, those scenes could just as well have been placed in a coffee shop.
Paul Giamatti's performance, although short, was a small highlight of the movie. Even though it also dragged on, it once again showed why this guy stays on the radar all the time. For those that are only interested in the movie due to Pattison's torso, there is some material for you. His acting though is not that good. Not sure if that's because of the script or because of other reasons.
In short, if you're keen on watching a dialog for 109 minutes, then this might be for you. Don't expect anything but weird, and somewhat pointless action scenes though.
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