Dispatched from his basement room on an errand for his widowed mother, slacker Jeff might discover his destiny (finally) when he spends the day with his unhappily married brother as he tracks his possibly adulterous wife.
The US President and UK Prime Minister fancy a war. But not everyone agrees that war is a good thing. The US General Miller doesn't think so and neither does the British Secretary of State ... See full summary »
When Andrew unexpectedly shows up on Ben's doorstep late one night, the two old college friends immediately fall into their old dynamic of heterosexual one-upmanship. To save Ben from domestication, Andrew invites Ben to a party at a sex-positive commune. Everyone there plans on making erotic art films for the local amateur porn festival and Andrew wants in. They run out of booze and ideas, save for one: Andrew should have sex with Ben, on camera. It's not gay; it's beyond gay. It's not porn; it's an art project. The next day, they find themselves unable to back down from the dare. And there's nothing standing in their way - except Ben's wife Anna, heterosexuality, and certain mechanical questions. Written by
As he walks to the hotel room for the final scene, Andrew walks in front of the home of Edith Macefield. Macefield was famous for stubbornly resisting the offers of developers and remaining in her tiny 108-year-old farmhouse while the surrounding properties were turned into a five-story commercial development. See more »
As Ben and Andrew explain to their video camera their story so far, Ben mistakenly refers to Andrew as "Ben". See more »
That's the tricky thing. It's the difference between this and bungee jumping, is that bungee jumping, you just walk to the edge and jump...
...and the whole thing takes care of you...
...and you don't have to have a hard-on to bungee jump.
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What a disappointment. This film started off promisingly, with a very funny premise that is established in a semi-believable way. Sadly, that is really all there is to the film. The funny premise leads nowhere, it is just milked and milked and milked until the audience is no longer laughing, but rather just waiting for it to end. Believability also starts going out the window about halfway through the film, with characters acting and reacting in ways that no human would, but are required contrivances to keep the story rolling along.
I too was not a fan of the overall aesthetic of the film, a sort of forced naturalism, with almost exclusively hand-held camera work, awkward quick focus and zoom changes, and an improvised feel to the dialog. I felt this sharply contrasted with the highly contrived nature of much of the script, and I also feel that it is generally unpleasant anyway.
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