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Chelsea Walls (2002)
Tomatometer
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Reviews Counted:15
Fresh:5
Rotten:10
Average Rating:4.5/10
Consensus: The meandering Chelsea Walls is more pretentious than poetic.
Theatrical Release:Apr 19, 2002 Limited
Synopsis: The Chelsea Hotel echoes with loneliness, residents moving in and out, dreaming behind closed doors and searching for someone -- or something -- that got away. The Chelsea Hotel used to be grand,... The Chelsea Hotel echoes with loneliness, residents moving in and out, dreaming behind closed doors and searching for someone -- or something -- that got away. The Chelsea Hotel used to be grand, the place to live for New York City artists. Mark Twain, Thomas Wolfe, Tennessee Williams, Arthur Miller, Bob Dylan, Jimi Hendrix…they all passed through the hotel’s halls. Now, the iron façade has become rusty and the artists in residence are tarnished, too. Still, new dreamers come every day, hoping to be inspired by the ghosts of the past. Grace (Uma Thurman) and Audrey (Rosaria Dawson) are young poets, who constantly struggle with issues of art and love. Never learning from experience, they always seem to let the wrong men into their hearts. Grace should love Frank (Vincent D’Onofrio), an artist who respects and understands her. But she still responds to the siren call of the lover who went to Hollywood. Similarly, Audrey lets impenetrable Val (Mark Webber) back into her life, knowing he will go off with Crutches (Kevin Corrigan) to do something that could take him away from her forever. Down the hall, Bud (Kris Kristofferson) is a writer who faces more endings than beginnings. His pretends that his wife, Greta, (Tuesday Weld) and his mistress, Mary, (Natasha Richardson) are his muses. But his eight-hundred page book is really fueled by an endless supply of alcohol. A lion who is losing his roar, Bud is out of time. For every worn out writer, there are two new musicians who come to town. Ross (Steve Zahn) and Terry (Robert Sean Leonard) have just driven in from Minnesota, eager to experience the sights and sounds of the Chelsea Hotel. These new hotel residents, young and full of expectations, mingle with the old hotel ghosts, ultimately becoming interchangeable. They form a community, linked by their dreams, their isolation, and their pain. The Chelsea Hotel never really leaves the people who live there, nor do they ever really leave it. -- © 2002 Lions Gate Films [More]
Starring: Uma Thurman, Kris Kristofferson, Rosario Dawson, Vincent D'Onofrio
Starring: Uma Thurman, Kris Kristofferson, Rosario Dawson, Vincent D'Onofrio, Robert Sean Leonard, Natasha Richardson, Mark Webber, Tuesday Weld, Steve Zahn, Kevin Corrigan, Frank Whaley, Guillermo Diaz, Paz de la Huerta
Director: Ethan Hawke
Director: Ethan Hawke
Screenwriter: Nicole Burdette
Producer: Gary Winick, Alexis Alexanian, Christine Vachon, Pamela Koffler
Studio: Lions Gate Films
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Reviews for Chelsea Walls
It is dead on the inside, never quite achieving the movements and emotional solidity the material demands.
Hawke's actors are a talented troupe, and even when things get self-indulgent and fuzzy-headed (and boy, do they!), interesting stuff is going on.
Movies like this do not grab you by the throat. You have to be receptive.
Were Dylan Thomas alive to witness first-time director Ethan Hawke's strained Chelsea Walls, he might have been tempted to change his landmark poem to, 'Do Not Go Gentle Into That Good Theatre.'
Hampered -- no, paralyzed -- by a self-indulgent script ... that aims for poetry and ends up sounding like satire.
The cinematic equivalent of patronizing a bar favored by pretentious, untalented artistes who enjoy moaning about their cruel fate.
I'm not suggesting that you actually see it, unless you're the kind of person who has seen every Wim Wenders film of the '70s.
Like the Chelsea's denizens ... Burdette's collage-form scenario tends to over-romanticize the spiritual desolation of the struggling artiste.
Calling it pretentious doesn't do justice to the toxic faux-bohemianism and unearned self-regard that bubble and ooze out of every aspect of Chelsea Walls.
Hawke draws out the best from his large cast in beautifully articulated portrayals that are subtle and so expressive they can sustain the poetic flights in Burdette's dialogue.
If Chelsea Walls builds a mood of boozy poetic disorientation, a crucial ingredient is missing: the scent of genuine artistic genius.
The ethos of the Chelsea Hotel may shape Hawke's artistic aspirations, but he hasn't yet coordinated his own DV poetry with the Beat he hears in his soul.
The digital-video results play like a flatulent teenager's first discovery of jazz, cigarettes, and hooch.
| Tomatometer Percentage | Movie |
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| 77% 77% | The Hangover |
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| 82% 82% | Paranormal Activity |
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