Taking ques from Tarantino's pop-culture worship in its plot, characters, and dialogue, this lacks the stylized gloss of Tarantino's iconography, being visibly cheaper in production. That would be acceptable, even charming, if Araki's plot didn't flail around aimlessly, without momentum. The lost-soul characters may be a thematic point, but this would've worked better with emotional arcs and a clear act structure.
What a great movie. May seem tacky now, but is a sincere and thourough revision of post 80's aids-angst gay/pop/art driven life. Great references (that Details mag on the top corner -sigh!), an awesome soundtrack + THAT final dedication to the white house... niiiice!
It's nice to see where he started, despite the amateurishness. I kept thinking about that quote from Lebowski. "Nihilists! Fuck me. I mean, say what you want about the tenets of National Socialism, Dude, at least it's an ethos."
surprisingly serious subject matter tht clashed w dialog sometimes but other than that nice, fun to see a gregg araki movie both toned down stylistically (compared to his others) and also not about teenagers, the cinematography was !!!!!!!!
I really wanted to like this film. From the artwork and the synopsis it gave me the impression it would be an exciting road movie, with a twist.Instead, I have one of the main characters with a voice so whiny and faint that I had to put the captions on. (The poor sound mixing didn't help matters, either.) Also, terrifically bad performances from peripheral characters. Campy crime scenes...I could go on but no room.
Cool to see strong gay leads, especially ones who are HIV+; cool to see a homophobic cop get killed. Their relationship is definitely a believably intense one as they both deal with mortality in their own way. The film, as a lot of road trip movies do, tends to feel aimless at times, though.