No puedo nombrar ninguna cualidad redimible de esta película. Las actuaciones son despreciables (especialmente James Deen), la fotografía es completamente plana y la dirección es floja (blocking dolorosamente formulaico). Pensé que estas situaciones venían de una decisión consiente de hacer sentir la película como una vapida película porno pero más bien vienen de un proyecto mediocre mal ejecutado.
2.5 Now, I adore BEE and his reoccurring themes work brilliantly in his books, but proved to be rather disappointing in (t)his movie. By switching from books to scripts, I would have loved to finally see him stepping out of his comfort zone in terms of storytelling. However, it sorta worked for me and I think critics focused more on the movies faces (Lohan, Shrader, Ellis, Deen, ...) than on the actual movie.
PS returns to the dark Hollywood noir of American Gigolo to create a vapid, empty exposé of a vapid, empty generation. Conversations here have the depth of instant messaging, and that's sort of the point; all has become artifice and spectacle; the drama of the self! Cinema is dead because young people are now actors in a narrative of their own creation. In our post-Facebook world, truth has become the latest fiction.
Mi ha colpito e non poco.Schrader racconta una storia di un marciume e di una cupezza incredibile(un pò alla American Gigolò) e per farlo sceglie campi super-patinati e delle luci grandiose,come a simboleggiare il contrasto tra ciò che appare e ciò che si cela.Tutto dà l'idea di malato,di angosciante e di senza speranza.Bellissimo il finale in stile American Psyco.Buonissimo lavoro,purtroppo massacrato senza appelli
I kinda liked this film, but it could have been so much better. Schrader is a great screenwriter ("You talkin' to ME?") but a pretty crummy director. The whole eulogy to cinema thing somehow got relegated to the credits? Doesn't Schrader know that most people don't watch credits? Those images should have been sprinkled throughout the film, for starters. Lohan really is a good actress, she deserves more respect.
A perverse cinematic take on a generation who are always acting a role especially in their private life from the pen of the sometimes brilliant Bret Easton Ellis and the worldview of director Paul Schrader.This has to be Schrader's best since 'Comfort of Strangers' shot on a relatively low budget but with enough filters and neon to make Michael Mann jealous. Performances are somewhat manic..but hey that's the point.