Chatty scenes ramble on and on, supporting characters are underdeveloped, and all the sibs' angst does little to make their tortured relationship very credible or interesting.
Harry And Max (2005)
Tomatometer
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Reviews Counted:23
Fresh:1
Rotten:22
Average Rating:3.1/10
Consensus: Despite impressive performances from its leads, Harry and Max is prurient, disturbing, and underdeveloped.
Theatrical Release:Feb 18, 2005 Limited
Synopsis: The relationship between two brothers who followed separate yet equally successful roads to pop stardom forms the focus for writer-director Christopher Münch's HARRY & MAX. Harry (Bryce Johnson) is... The relationship between two brothers who followed separate yet equally successful roads to pop stardom forms the focus for writer-director Christopher Münch's HARRY & MAX. Harry (Bryce Johnson) is practically an industry veteran at the ripe age of 23, but his teen-pop band is facing a tough time connecting with a maturing audience that is rapidly leaving the band behind. Sixteen-year-old Max (Cole Williams) is just getting a foothold in the business, but is already making vital inroads into the pre-teen pop scene. The relationship between the two has been distant for many years, so Harry suggests the brothers go on a camping trip to rekindle their relationship. What initially starts out as a friendly vacation, in which Harry hopes to dispense some sage words of wisdom about the music industry to his wide-eyed and innocent brother, soon plunges into something altogether darker. Max confesses his homosexuality, reveals his relationship with a 40-year-old male teacher, and perhaps most shockingly of all, openly admits his sexual desire for Harry. Things get worse as Harry tracks down the teacher, only to seduce him in a parking lot, sparking a series of betrayals between the brothers that neatly sets up an engrossing conclusion to Münch's film. An engaging examination of an entirely dysfunctional relationship, Münch's film opens up a fascinating discourse on topics such as incest, trust, homosexuality, and pedophilia. The gutsy performances from Bryce Johnson and Cole Williams deserve great applause, especially considering the formidable subject matter with which they were working. A consuming and deeply eloquent movie, HARRY & MAX is an audacious, fearless piece of filmmaking. [More]
Starring: Bryce Johnson, Cole Williams, Rain Phoenix, Tom Gilroy
Starring: Bryce Johnson, Cole Williams, Rain Phoenix, Tom Gilroy, Michelle Phillips
Director: Christopher Munch
Director: Christopher Munch
Screenwriter: Christopher Munch
Producer: Roni Deitz, Christopher Münch
Composer: Michael Tubbs
Studio: TLA Releasing
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Reviews for Harry And Max
The blurred boundary between intimacy and sexuality ... isn't broached with the sensitivity and maturity that it demands.
The real reason behind the vile emotions this film provokes is not only the ugly content, but the fact that this story could have been so much more, and performed with some blatantly talented cast members.
As disturbing and unsettling as the subject matter is what is truly sad is that the performances of the two leads were impressive and they ended up being wasted by the trash content of the script.
Strains to be sensitive rather than merely shocking, but winds up dull and uninvolving.
You watch this prurient would-be porn, treated with kid-glove 'sensitivity,' in a state of disbelief.
Intermittently insightful, but a disappointment from the talented Munch.
Director Christopher Munch deftly raises disturbing questions, but he fumbles badly when groping for answers.
Perhaps the strangest element here isn't the narrative conceit itself, but the fact that director Munch handles it in such typically low-key, benevolently observant fashion.
The dialogue is either porn-film cheesy or soap-opera trite, and the performances are far from convincing.
Harry and Max is writer-director Christopher Munch's seemingly candid exorcism of any number of self-consciously naughty fantasies.
You can almost hear the filmmakers exhale with nervous relief, having made it through a film about incest without actually having an opinion on the subject.
The film winds up dancing around the 500-lb gorilla in the middle of the room rather than facing the pathology of its real subject head-on.
The emotional lives of the leads are as vacuous as a Joey Fatone B side.
Seems like the work of a novice, with self-conscious expository passages and emotionally false conversations.
...incest...pedophilia...the film seems to be nothing more than an attempt to affirm a sense of I'm-OK-you're-OK normality for any viewers with such issues in their own lives.
The movie is a congeries of half-formed ideas about pansexuality and other social taboos, but Munch fails to accomplish what he seemingly sets out to do.
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August 18, 2005:
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