ada the leading man is my tpye

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Fulke Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Arcadio Bolanos The last film in Araki's Teenage Apocalypse Trilogy builds upon the premises laid out in "Nowhere" and "Totally F***ed Up". And what better way to end a trilogy than with a threesome in the making? The three protagonists of this production are Jordan White, interpreted by James Duval who once again conveys all the confusion and insecurities of adolescence, Amy Blue, his sexy girlfriend and Xavier Red, a wild, aggressive and assertive guy they meet on the road.Together they will embark upon a journey that, without a clear destination, will bring forth certain aspects of their real 'selves'. At the beginning of the film, Jordan attempts to penetrate his girlfriend to no avail. But this is not a reference to impotence. It is rather a reaffirmation of what Lacan would denominate the nonexistence of sexual rapport. Amy tries to give directions to her insecure boyfriend about what to do with his penis. Obviously, sexual joy here is phallocentric. But let's not forget that the phallus is a signifier, and even the model of jouissance is bound to be seized in the idiocy of the practice that attests to it. A phallocentric perspective exemplifies the non-rapport in the Other.To declare that the jouissance is phallic is fundamentally to state it is solitary. That clearly explains why is it that Jordan and Amy are unable to consummate their passion, remaining as virgins. According to Lacan, the axiom "There is no such thing as sexual rapport" obeys to a basically solitary jouissance. When Jordan asks Amy "Don't you think sex is totally strange? Just the whole idea of it" he is essentially explaining how difficult it is to decode sex in the symbolic order, because sex can neither be translated into words nor discarded as simulacra (which happens very often in postmodern society). Amy then responds "I think maybe it's more powerful than we'd like it to be". And she is absolutely right about it.As soon as Xavier enters into scene, sexual dynamics are fiercely disrupted. Xavier is sexually overwhelming, he invades the personal space of the boy and the girl, disregarding gender divisions. When Jordan and Amy are taking a shower together, Xavier looks at them and masturbates. Masturbation is very relevant in "The Doom Generation", after all, what could best exemplify the solitary jouissance? Amy describes Xavier as a living support for the sexual organ, and Xavier has no problems in acting as a "walking penis", so to speak. He is rendered as the phallus, and because he is the phallus he becomes desirable for Amy and Jordan.According to Freud, the man possesses the phallus, for Lacan, however, the woman can also have it (let's remember that phallus is not a synonym for penis). In both cases, as embarrassment, as lack, a substitute to be looked for, yet essentially, sexuality will be there conditioned, determined. To have the phallus is to be afraid of losing it; to not have it is to seek for it. All this is demonstrated when Amy engages in sexual intercourse with Xavier, thus creating a specular moment, an instance which reflects a previous one, in which Jordan masturbates while he sees his girlfriend and his new friend copulating (dynamics that bear some similitude to Cristopher Munch's Harry + Max, so it's not surprising to see this filmmaker credited at the end).Nonetheless, one of the most fascinating aspects of the film is the feeling of impending doom that permeates reality over and over again. Amy will summarize it in one phrase: "there is no place for us in this world"; whereas Jordan will only inquire "ever felt like reality is more twisted than dreams?". "The Doom Generation" is as surreal as other Araki's films, and it picks up on a certain leit motif present in his cinematographic work: religious zealousness and all it entangles. From Amy's mother (a fervent scientologist) to billboards with messages such as The Rapture is Coming (a "doomsday" of sorts according to certain religious sects as explained in "Nowhere") or Prepare for the Apocalypse. Of course, there is also the constant emphasis on 666, the number of the beast; every time the characters buy food or have to pay for something, the price is exactly the same 6 dollars with 66 cents. 6.66. The film is thoroughly filled with what Genet would call paratextual references, here the "writing on the wall" is very visible, in every wall, in every store and gas station they visit.Reality seems to be seeping down under their very noses, although as Xavier reminds them: "I saw it on TV so it's gotta be true, right?". But there is little or nothing they can grab a hold on. And this capricious dynamic is reinforced by the fact that Amy is an interchangeable object a (object of desire), as a fast food employee confuses her with an old flame and chases her down, something that also happens with an enraged lesbian, and a gay man. All forms of sexuality (heterosexuality, male and female homosexuality) enable the completion of yet another trio.When Jordan, Amy and Xavier are finally ready for a threesome, something of the order of the real irrupts and dramatically changes everything. A violent group of men captures the protagonists, and threaten Jordan very seriously with removing his genitals. But what could castration mean? A rapport should be posited and established, from a subject of one sex to the phallus, and would not get inscribed by a rapport to the partner sexed differently. This is the value Lacan bestows on the universal allotted to the castration complex. Thus the Old Testament conjectures that Sodom will suit the man and Gomorrah the woman. If castration was metaphorical at the beginning (Jordan's inability to maintain an erection) here it takes a more literal approach, which is only fitting if we consider that sexual rapport for the protagonists will forever be impossible.

Tromafreak Now, here's a fine example of hard-hitting, 90's Exploitation. Brought to you by Gregg Araki. The Doom Generation is a gritty, super-dismal, often hilarious tale of murder, betrayal, and sleaziness. We begin with a young couple, hanging out at a club, Amy Blue (meth-head), and Jordan White (pot-head). Amy is a vindictive little nightmare, who's just looking for an argument. And Jordan, well, Jordan doesn't do a whole lot of thinking, but is a good guy, who loves Amy, despite her personality issues. Amy and Jordan take it to the car, so they can lose their virginity, but are soon interrupted...Meet Xavier Red (killer), X for short.Xavier rudely enters Amy's car, rudely demanding she start driving so that he may live, rudely insulting her, subtly insulting Jordan, but he doesn't mind. Amy on the other hand, is about to blow her top, but at least she has someone to argue with now... no wait, he just went too far. Alright guy!! Out of the car.Later in the evening, the teenage, odd couple are rescued by their new pal, X from a trigger-happy, convenience store clerk. after X literally blows the mans head off. They all 3, right then and there, decide to take a road trip together, leaving behind everything. The night sure is going to hell, but at least Amy has someone to argue with again, that's what's important. It doesn't take Xavier long to make his intentions clear, with Amy, and despite the fact that she despises him, she's all for it. They don't try all that hard to hide this from Jordan, but it's cool, Jordan doesn't mind, "X seems like a nice guy". Amy doesn't mind Xavier's insults, Jordan doesn't mind that the man is sleeping with his girlfriend, and no one seems to be all that bothered by the fact that X kills someone every time they stop somewhere.The Doom Generation is harsh, and mean-spirited, and can be ugly, at times, just a swell movie, probably Araki's best. The religious, and apocalyptic metaphors won't go unnoticed, and neither will Rose McGowan, as a foul-mouthed teenager, with a chip on her shoulder, with James Duval's performance making her seem even worse. Some things occur, seemingly with the intention of confusing us, but that's OK, confusion only makes this seem more like exploitation from decades past. For something slightly similar, check out Nowhere... which reminds me, if you ever see both these movies, you might notice that it would be a much better fit if they switched the titles, just a thought. Although, The Doom Generation is deeper than it may seem, it's still a grim good time, with no redeeming qualities, Generation-X-ploitation. 9/10

muffinigans When I first saw the user rating -- and read the summary -- I already knew it was underrated. Something just said it.And, I must say, this is a great movie. I hate going into technical detail as of why, but many teenagers have these hidden desires inside, to be f*cked up, to f*ck, to f*ck up someone else. And I think that this is beautiful and open.The soundtracks kick *ss as well. The actors for the main characters do a great job, I dig the dialogues and the awesome curse words made up by Amy.So many great things produced in the 90's... I think the teenagers of today have yet to discover quite a bit.

ThrashleyMetal this movie is great! if you've never seen it you really need to. as for the spoiler i spoke of considering the box gives a fleeting summary the ending is pretty much spoiled. anyways, i was trying to find these "Amy and Jordan" comics online because i am sure i would love them but i can't. if anyone can tell me where they are i would appreciate it. so i guess i need ten lines to make a comment so i am pretty much going to be rambling in the rest of this. rose mcgowan is pretty hot in this movie, despite that awful haircut/wig. then again this movie was set in the 90's and that's what those rocker/goth chicks were rockin back in those days. so is this ten lines yet? sweet! peace out yo!