'Chop Suey' strives to be avant-garde and trendy. For many, it will be.
It's an eclectic film, held together only by Weber's ironic voice-over narration and the endless shots of the beautiful Johnson.
| Original Score: 3/5
Beautiful photography. Too bad the film is like a custom car up on blocks - nice to look at but it doesn't go anywhere.
| Original Score: 2.5/5
...an alternately beautiful and annoying scrapbook of a film. And just as its title suggests, it's a mixed bag.
Even the misspellings and ramblings fit into the loosey-goosey, associative framework.
| Original Score: 3/4
Sometimes maddeningly meandering, often intriguing.
[Johnson is] utterly beautiful but he's about as compelling as a Pet Rock.
| Original Score: C
It's as amusing, varied and instantly forgettable as an issue of Vanity Fair or Vogue, minus the fragrance samples.
| Original Score: B
For a film by a photographer, it's awfully unfocused.
| Original Score: C-
With footage of Faye in performance, and interviews with her friends and associates, Weber uses Faye as base from which to branch out in bizarre directions.
The most personal and accomplished of the several documentaries Weber has made over the years.
| Original Score: 4/5
Spending time with Weber and hearing his stories makes you realize you might be listening to the secret of a happy life.
Anybody who expects this film to be nothing more than the equivalent of flipping through the advertisements in a slick magazine is in for a surprise.
Weber's eclectic, grandly engaging documentary, is as personal as movies get, a generous and candid first-person exploration of the wide-ranging influences that inform the photographer's work.
Even when it turns pensive or deals with a death, it has the compulsive charm of a bright, gossiping diary you have to keep reading.
In the end, what resonates is the fragile yet unfailing grace of the human spirit embodied by Weber's subjects.
There's a breezy charm to the proceedings.
It's a fascinating life and an interesting movie, but it's also a little evasive.
Assembled by Weber himself and overflowing with bits and pieces of his life and loves, this ditty box of a movie is a little like Maximillian Schell's 1984 documentary Marlene.
Weber's talent works best when he's focusing on an object, not when he's giving us a wayward, free-associating travelogue of his visceral imagination.