After a loved one falls ill, 25 year old struggling comedian Emily Martin returns to her college town of Austin, Texas and must come to terms with her past while staying with her ex-boyfriend and his new girlfriend.
Ray is a fledgling entrepreneur who specializes in high-end simulated abductions. He jumps at the chance when a mysterious client contracts him for a weekend kidnapping with a handsome ... See full summary »
A developmentally delayed 40 year old man named Shonzi is sent to live with his brother Todd. But when Shonzi develops a crush on Todd's new girlfriend Lindsay, he threatens to reveal past ... See full summary »
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In this dark, gritty, mean-spirited, but well-made comedy-drama, Veronica (Sandra Oh) is an superficial, entitled housewife dealing with her home life. Ashley (Anne Heche) is a self-obsessed, misanthropic, artist dealing with her career and her life partner Lisa (Alicia Silverstone) who wants to raise a baby. Veronica and Ashely's paths cross at a party hosted by Veronica's husband, which the two cynical woman's long-buried rivalry comes to the surface which leads to a brutal cat-fight where Veronica ends up in the hospital in a coma. After two years, Veronica emerges from her coma to learn that both her husband and teenage son are dead, and she is broke with no friends or family. On the other hand, Ashley has become a successful and wealthy artist now married to Lisa. Veronica blames Ashley for her downfall, and after another confrontation which leads to another savage cat-fight in a vacant lot, Ashley is the one to end up in a coma and is revived after two years to find her own ...Written by
The poster of the film (which is actually a screenshot) has the blood and other wounds removed from Sandra Oh's and Anne Heche's faces. See more »
When Sandra O's husband knocks the glass of milk over on the table, the glass is still clearly lying on the table. In the next shot, the glass is lying on the floor. See more »
Why are you helping me?
I am not. I'm actually taking great joy in seeing you like this. I mean, your life is over. You can't paint, you lost your girlfriend, you lost your baby.
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The success treadmill. Violence and creation as reverse forces. My favorite was combined, with the painting of the violence. Sandra Oh is of this obscenely wealthy wife of a war profiteer, as in the opposite force. She copes as a miserable drunk. She scoffs at artistic pursuit. "Society only cares about money." To this point it hasn't let her down and she wishes her son the same luck in controlling all of fate. Heche, the artist, is contrary to this seeing the machination from the start so inherently its underdog; so Sandra began the catfight by punching down. "The artist thing?" "Art is something you commit to for life." After this, Heche is rewarded right away... (I do not see the film as studying randomness and irony, rather it presents the capitalist machine operating with such intertwined complexity as a sort of borg law of attraction.) The joke is after her success, in record speed she's miserable, vain, even accused of "exploitation" (despite her work not having changed one bit between obscurity and success). But its context was externally dependent, so entirely re-framed once attention went on her. Meaning it is a film of 'external' while Heche's curse is 'internal'. Her protege's speech in the dream shows the very power of her artistic subconscious, so on point that it captured the zeitgeist. It seems to be pride instigating the mechanism in both cases. Sandra loses everything. Heche's two-fold, one, her artistic impotence, two, her self-esteem as her protege's work was absolutely awful, but its success reflected how the same forces prized her; so her curse was knowing all the validation was false. "I can't live in a city ever again," as in, hell is other people... See how social minutia often betray them in every area, no one can relate, no one is aware, every gift is wrong, every conversation a minefield. Then Oh found the internal balancing the Aunt whose 'internal' engulfed her into madness, yet having this model prevented her from falling there herself. Heche had no such model. This is the danger of seeing and why everyone fears Heche and art itself rather than admire its bravery. "The camera is my only connection." Ah, the redemptive power is not just art but cinema as enhanced connective consciousness. Problem is, Heche can no longer draw and has no such connection either, so gets the short end in both cases, as artists always will. Will she regain her grip just as the film allowed the camera to flick back to life?
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