Inadvands Boring, over-political, tech fuzed mess

Organnall Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

Joanna Mccarty Amazing worth wacthing. So good. Biased but well made with many good points.

Micah Lloyd Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

bengt alvång This film was strangely intriguing and had my full attention all the time. The dialogue is at times extraordinarily witty and it's a mix of sadness (emphasized by the music scores from both Clockwork Orange and 2001, as well as melancholy tones from Bryan Adams "I'm not the man I seem to be, but I'm the man for you..") and comedy depicting the double nature of the conman Conway. Malkowich slippery and at times very painful acting is one of a kind. It's amazing how his character bounces up again and again, he can't stop himself. Of course, as a social commentary this film is a hard judgment on the willingness for people to believe and get benefits from anybody who appears to be in a position of power. bengt alvång http://www.fokus.nu

whatever_isaac i went into this expecting a documentary, or a biopic, or at least a drama that examined the events that occurred around this guy. what i got was a crappy comedy that played like a rip-off of catch me if you can. it seemed to me like they filmed several separate "incidents" that they found funny, then remembered that films are supposed to have plots, so they threw in one scene introducing his roommate as some guy smoking pot on his couch, and then we were expected to have an emotional reaction later on in the hospital scene when he's there and malkovich is pretending not to recognize him? the subplot with the escort service went nowhere and neither did the newspaper one. this director needs some practice.

otaku777 Allow me to preface this whole review by saying that the more familiar you are with the works of Stanley Kubrick, the more enjoyable this film will be for you.If you are only slightly familiar with Kubrick, and are not interested in seeing a John Malkevich playing an impressively nuanced, yet unprogressing character (after seeing, one has to admit it was quite the feat), then your $10 is probably better spent elsewhere. However, if you are like me and get a kick out any work that can thread in a Kubrick allusion without making any excuses, this film might be right up your alley.Within this film there is no great commentary, no grand message, and no prevailing plot. What it does contain is one compelling character, one twisted journey, and whole host of inside jokes which, if you are in on the bit, make this film worth every penny of the ticket price. A confidence man, Alan (Malkevich), grifts his way through every episode of this linear yet non-Aristelean film by pretending to be the reclusive film director, Stanley Kubrick. Every episode is structured around an allusion (which Alan never seems to get because it appears as though he has never actually seen a Kubrick movie) to one of Kubrick's greatest scenes.I believe giving too much more else will ruin the ride for those that care to take it. And, oh my, what a weirdly wonderful ride it is.

CinemaHound 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.