30 Beats (2012)
Average Rating: 3.7/10
Reviews Counted: 22
Fresh: 1 | Rotten: 21
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Average Rating: 3.2/10
Critic Reviews: 12
Fresh: 0 | Rotten: 12
No consensus yet.
Average Rating: 2.2/5
User Ratings: 1,328
Ten disparate New Yorkers are connected by a summer heat wave and a series of steamy sexual encounters in 30 Beats, featuring an ensemble cast that includes Lee Pace, Condola Rashad, Justin Kirk, Thomas Sadoski, and Jennifer Tilly. Written, produced and directed by Alexis Lloyd, the film is a light-hearted exploration of seduction, spontaneity and self-discovery that's as sultry and vibrant as the city in which it's set. -- (C) Official Site
Jul 20, 2012 Limited
Oct 9, 2012
Roadside Attractions - Official Site
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This umpteenth variation on Schnitzler's classic play La Ronde fails to arouse.
Despite the presence of such actors as Lee Pace, Jennifer Tilly, Justin Kirk, Thomas Sadoski and Paz de la Huerta, there is no character insight allowed by the bumper-car storytelling.
That's all that happens: drift from one unrealized, uninteresting character to another.
"30 Beats" goes on to a meandering orgasm of multiple, less-than-dangerous liaisons meant to titillate, fascinate and illuminate. But once the sweat dries, it irritates.
This wisp of a movie, inspired by Arthur Schnitzler's play "La Ronde," offers only hints of the complicated personalities behind the characters' sleek, well-toned surfaces.
As an experiment, 30 Beats is an uneven, if not entirely uninteresting, failure. In its attempt to be modern and titillating, it actually distances and confounds.
The characters are props in what's essentially a lame screenwriting exercise.
A sexy, smart and sophisticated exploration of sex, love and everything in between.
A clever storytelling structure can easily be reduced to a mere gimmick when there's no story of worth to tell.
[VIDEO ESSAY] Marginally enhanced by the presence of a few experienced actors (Jennifer Tilly, Paz De La Huerta, Lee Pace), writer-director Alexis Lloyd's Manhattan-set sexual roundelay is a shoddy feature debut.
The actors barely seem to dip their toes into these scenes, even when they're involved in a ménage a trois or an elaborate bondage scheme.
While it lends itself to some interesting insight on the politics of non-exclusive, ****-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
Unfortunately, the filmmaker mistakes inertia for sensuality, keeping the material in a frustrating state of paralysis.
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