Malkovich gives a performance that carries the picture. But the picture goes nowhere! I wasn't offended by all the gay stuff in it. but I might have been were I gay. It's a bit much.
While there are a lot of references to Kubrick movies, there are few, if any, attempts to include any of his cinematic signatures; i.e. the tracking shot, the bathroom scene, the sullen stare into the camera. There are repetitive inclusions of music associated with this movies, Zarathustra, Thieving Magpie, Sarabande, snippets from Wendy Carlos' Clockwork Orange score. These become tiresome.
The movies fails, because the Alan Conway character is never explored in any way. This is Brian Cook's fault, not Malkovich's. Here's and example: The high point of this long-running con occurs in a restaurant, where Conway takes in super sharp Frank Rich of the New York Times. Now, regardless of Conway's background or motivation, this should have been a great moment for him. Was he scared? Was he challenged? Was he so into the con that it was inconsequential to him? He did go to the trouble of verifying Rich with the maitre'd. The script thought it was important. But the scene tells us nothing.
It's worth seeing, I suppose, for Kubrick fans like myself. But it adds nothing to the canon. The screenplay is fine, probably hits the right notes, but the direction is fatal.
While there are a lot of references to Kubrick movies, there are few, if any, attempts to include any of his cinematic signatures; i.e. the tracking shot, the bathroom scene, the sullen stare into the camera. There are repetitive inclusions of music associated with this movies, Zarathustra, Thieving Magpie, Sarabande, snippets from Wendy Carlos' Clockwork Orange score. These become tiresome.
The movies fails, because the Alan Conway character is never explored in any way. This is Brian Cook's fault, not Malkovich's. Here's and example: The high point of this long-running con occurs in a restaurant, where Conway takes in super sharp Frank Rich of the New York Times. Now, regardless of Conway's background or motivation, this should have been a great moment for him. Was he scared? Was he challenged? Was he so into the con that it was inconsequential to him? He did go to the trouble of verifying Rich with the maitre'd. The script thought it was important. But the scene tells us nothing.
It's worth seeing, I suppose, for Kubrick fans like myself. But it adds nothing to the canon. The screenplay is fine, probably hits the right notes, but the direction is fatal.