One of the great American independent films of the 1990s, writer-director Whit Stillman’s surprise hit Metropolitan is a sparkling comedic chronicle of a middle-class young man’s romantic misadventures among New York City’s debutante society.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
This is a solid film with good dialogue and structure but it loses a star because of the dumbass lead. I grow tired of the blind lead who can't see all the great things in front of him until it's too late. That sweet girl loved him but he was too stupid to realize it. To me the shit is getting old.
Maybe I'm just missing something, but Whit Stillman's breakout film did nothing for me. The dry, genteel atmosphere, deliberately stilted performances, and ceaseless discussions on philosophy, class, and culture made for an incredibly boring and very long 99 minutes. There are some original elements, and it certainly has a unique style, but not enough to really make it watchable.
A bunch of spoiled rotten brats whine. And whine. And whine. And then whine some more. A would-be "sophisticated" comedy that has all the polish of G.W. Bush, who the characters in this film doubtless voted for.
"Indie" cinema # 13: the origin of "species". In Portuguese, "to do species" is an idiomatic way of expressing something that bothers us, in a negative way. This film that start all the "smart" and "cunning" North-American indie cinema, urban-amusing trend - an attempt to achieve a nonchalant subsequence of the most ironic Woody Allen - it's only bearable for its construction in permeable blocks. The rest is history.
This is a great satire on a class of vapid rich white kids who are in rapid decline. The characters are thoroughly explored and the dialogue is as frivolous as the class these characters belong to. I hate these people but I like this film. I do feel that the visuals were a bit lackluster, but that might just be me.
****1/2 Would make a very apt double (or triple) feature with either or both of two films with salient overlaps: FEMALE TROUBLE (montage and stasis sharply cultivated to buoy the films' brilliantly comedic-declamatory natures) and CAROL (blown-up super 16 paradoxically(?) "grit"less, instead adding immeasurable elegance, texture, distance, and melancholy to its composed, alluring, fraught urban past).