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 kills his wife, and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
10 years after a global economic collapse, a hardened loner pursues the men who stole his only possession, his car. Along the way, he captures one of the thieves' brother, and the duo form an uneasy bond during the dangerous journey.
The Weiss family is the archetypical Hollywood dynasty: father Stafford is an analyst and coach, who has made a fortune with his self-help manuals; mother Cristina mostly looks after the career of their son Benjie, 13, a child star. One of Stafford's clients, Havana, is an actress who dreams of shooting a remake of the movie that made her mother, Clarice, a star in the 60s. Clarice is dead now and visions of her come to haunt Havana at night... Adding to the toxic mix, Benjie has just come off a rehab program he joined when he was 9 and his sister, Agatha, has recently been released from a sanatorium where she was treated for criminal pyromania and befriended a limo driver Jerome who is also an aspiring actor.Written by
The movie was going to be shot in 2004, with David Cronenberg and Julianne Moore already attached to the project, but the director wanted to shoot the film in Los Angeles and it was financially impossible. See more »
When Jerome is driving Havana, they are in a long wheelbase 'L' version of Lincoln Town Car, when they've arrived at her house and are having sex in the back, they are in a standard wheelbase version (it has a shorter quarter glass section in the rear door window). See more »
[yelling at Agatha]
I pick you up off the street and give you money so you can be late for work and have your period on my furniture! Do you think Carrie Fisher and Nicole Kidman have creepy little animals working for them?
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It's always good to see that some writers still can write real good dialogues that are able to captivate, and this quality participates greatly to the enchanting aspect of the movie.
But if David Cronenberg and Bruce Wagner managed to depict the cruel world of Hollywood and its backstage with verve, cynicism and a lot of humour, why did they feel compelled to do too much especially with those ludicrous visions that completely annihilate a movie that started off pretty well ? As often happens with Cronenberg, we therefore wind up with a few risible and unbelievable points that makes the film look like a Z movie, just thinking about the scene with the dog and the reactions of the characters, or the final confrontation between Havana and Agatha — and Julianne Moore's terrible acting — is cringeworthy.
It's real shame because the writing quality only serves a scenario whose plot is badly defined and weighed down by some very dispensable elements.
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