Gary, an actor who plays a cop on television, uses too much lighter fluid when he burns his ex-girlfriend's things, then he drinks and drives, uses crack, and crashes his car. He sobers up in jail and is placed under house arrest and the watchful eye of a publicist, the cheery and tough-minded Margaret. She moves him into the empty house of a writer who's away in Canada on a shoot. Gary meets Sarah, an attractive and seemingly-willing neighbor. His friendship with Margaret blooms and strange things happen: he finds notes he doesn't remember writing, he hears noises, and he seems to bump into himself in the kitchen. Two remaining chapters reveal what's going on.Written by
After ejecting "The Fountain" after a grueling 20 minutes, I was in the mood for a movie that was well grounded, and without the symbolic and "intellectual" pretension found in movies such as "Mullholland Drive" and the like. For some reason, it seems the common notion is that a nonlinear and obfuscated plot combined with a plot twist epiphany automatically create a great movie. As soon as I began to realize the deeper nature of "The Nines", I gripped my temple and moaned, "not this again."
That's because I felt the sinking feeling of a movie about jerk me around and forcefully slam my rational mind into a blender of nonsense. You know what I'm talking about: everything seems fine and makes sense, and then WHAM!
But wait, that's not happening. Instead, we're being spoon fed weirdness one bit at a time; allowing our rational mind to slowly come to grips with what is going on. "Fight Club" did it, and it certainly worked there.
But why do I say ridiculous? Because parts of it are. But what makes it wonderful is that despite any apparent absurdity (which did go a bit far), if you take the premise and run with it, it all adds up.
But all that aside, I was enthralled from start to finish, and really enjoyed watching it.
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