This is a class act - you can tell from the opening credits, and already you're wondering why it didn't find its way around some more ... after 'Living in Oblivion' (Tom DiCillo notes, in his filmmaker's diary published with the complete screenplay, that he lost for best original script at the Independent Spirit Awards to "the guy who wrote 'The Usual Suspects'"), it seems that DiCillo slipped off being front-and-center stage, but this is the sort of thing he *specializes* in: the weird, vain, crazy world of filmmaking (and actors! And art! And ... ) *itself*, and all the shots are lively and the set-ups, too, filled with personal investment and affection for all these human types and the foibles they encounter, and perpetuate, and fall *victim* to, themselves ... again, a class act all-around, and doesn't seem to have a lot to do with Billy Wilder in terms of style and *noir* shadings and blah-blah-blah *specifity*, but the overarching concerns are abundantly. He cares about us humans, and makes sure we are able to laugh at ourselves - as though losing our ability to do so would be dire, or at least *detrimental*.
And Matthew Modine made this movie not long after Abel Ferrara's 'The Blackout!' It goes to show that some people were willing to "tweak" thr film industry and themselves, even if public/critical/distributor response wasn't *great*. I didn't see either of these two pictures in the *theater*.
Two thumbs up! (From *me*, anyway ... ha-ha!!!)
;)
#WINK
#WINKAROONY.
And Matthew Modine made this movie not long after Abel Ferrara's 'The Blackout!' It goes to show that some people were willing to "tweak" thr film industry and themselves, even if public/critical/distributor response wasn't *great*. I didn't see either of these two pictures in the *theater*.
Two thumbs up! (From *me*, anyway ... ha-ha!!!)
;)
#WINK
#WINKAROONY.