An anthology film retelling the story of the famous Studio 54, a hot disco hangout for the social elite of New York. The movie follows several characters at once, some of whom are in desperate straits and on the verge of crashing.Written by
When the IRS shows up to raid 54, the wide shot shows two unmarked police cars with red lights flashing on the dash. Then a tight shot shows an agent climbing out of a car and the light on the dash is blue. See more »
No ticket, no coat!
Just look for it.
Do you know many black leather jackets with poppers and a cock ring in the left pocket we got back here?
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A 40 second scene at 1:46 on the DVD showing Ryan having sex in a car was not seen on the PPV telecast nor in theaters but was on the DVD. A promotional clip showing Shane and Julie discussing her status as his girlfriend was edited out of the film after the line where she says "You're Sweet". Another promotional clip had Bell & James "Livin' It Up (Friday Night)" playing when Shane was trying to get into 54. In the film no song was playing at the time. See more »
Superficial and awkward, but with a pleasurable, hedonistic nostalgia...
Writer-director Mark Christopher worked hard at recreating the sinfully decadent magic of Manhattan's Studio 54, the number-one celebrity hangout from the late-1970s into the 1980s, but he skimped on the most intriguing part of the nightclub's history: the relationship between business partners Steve Rubell and Ian Schrager. Mike Myers was a terrific choice for the flamboyant, eccentric Rubell, but Schrager has gone missing. Instead, the story is told from the point-of-view of a busboy-turned-bartender (!), a muscular rube whose innocence is soiled by boss Rubell's dirty business dealings and hedonistic trappings. The film has a low-budget feel which doesn't make itself present in the production so much as in the character-driven scenes, which are underpopulated, padded with real and faked black-and-photos, and further undermined by stilted dialogue. Ryan Phillipe is well-cast as the young stud from New Jersey whom Rubell takes under his wing, yet his voice-over narration is uncomfortably omnipresent, telling us things we can see or perceive for ourselves, and the interrelationships between the club staff are uninteresting. Some of the music is good, bringing back those long-ago nights of carefree sex and dancing-the-night-away, but Christopher doesn't grasp the big picture. As a result, the film (at best) is a series of precious little moments struggling to surface. ** from ****
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