Who's
In It: Julia Roberts, Blair Underwood, David Hyde Pierce, David Duchovny,
Brad Pitt, Mary McCormack, Katherine Keener Who Directed It: Steven
Soderburgh
Full
Frontal has to be one of the most misunderstood movies of the year. Not only has
it been attacked by nearly every movie critic, but it seems to have audiences
everywhere scratching their heads and asking; "what the hell am I watching?"
Full
Frontal is an experimental film in every sense of the word and works as a wonderful
excuse for the brilliant Steven Soderbergh to stretch his creative chops. While
watching it, I was instantly reminded of Mike Figgis' intriguing Time Code and
Richard Linklater's innovative Waking Life. These films are vastly different from
one another in terms of storytelling style, but they all have the same purpose;
to push the boundaries of the medium.
Full
Frontal is a mostly improvised story featuring several different characters whose
lives intersect in various ways. In the early stages of the project, it was being
talked about as a sort of sequel to Sex Lies and Videotape. While Full Frontal
doesn't feature any characters from that outstanding 1989 release, it does offer
distinct similarities.
The
cast is most impressive, and work together to run with this unique experiment.
Julia Roberts and Blair Underwood play actors appearing in a film together. In
addition to seeing their on screen movie within a movie antics, we also get a
glimpse into their real lives as Soderbergh attempts to blur the line between
fantasy and reality. Catherine Keener (who's made a name for herself by playing
the token bitch) appears in familiar form, but her character here always seems
to have a reason behind her actions and I really appreciated that. David Hyde
Pierce is fantastic as a writer and Keener's insecure husband. There are many
other noteworthy performances including Mary McCormack as a masseuse looking for
love, as well as splendid bit parts by the likes of David Duchovny, Brad Pitt,
film maker David Fincher, and Terrence Stamp in a fantastic cameo (one that's
especially cool if your familiar with Soderbergh's work). If you look very closely,
you'll even notice Soderbergh himself.
I
was really fascinated by this movie. While nearly everyone I've spoken to was
annoyed by the various film stock used to shoot this picture, I found that it
benefits Full Frontal. It never bothered me at all. The scenes that are shot in
that grainy digital style serve a purpose. It's supposed to feel blurred and impersonal.
Those
going into this picture expecting something on par with Traffic or Erin Brokovich
will be sorely disappointed. Those going in because they see Julia Roberts' name
on the poster probably won't like Full Frontal either. Why did I like it? In short,
I found the characters really interesting, and I admired what Soderbergh was trying
to do here. Apparently, no one else in the theater did. I could hear whispers
of disapproval throughout the theater. Quite frankly, I'm surprised that my friend
and I weren't the only two left when the credits rolled.
Full
Frontal is a terrific exercise in improvised film making. It has moments of absolute
hilarity, but it's also quite heartbreaking. While many will, no doubt, find it
convoluted, I found it surprising and spontaneous. Soderbergh visits some of the
same themes he touched on in Sex Lies and Videotape and sprinkles them with a
little bit of Hollywood satire. Most of all, I liked that Soderbergh was willing
to strip it down and take a chance. After all, this guy was nominated for two
Oscars in the same year. He didn't have to do this. He wanted to.
Again,
those of you contemplating seeing this film should be advised that Full Frontal
is not your average movie. But I'm here to defend it. In fact, I'm looking forward
to seeing it again. I wish more film makers would take chances like this.
