A strong contender for the worst movie of the century.
Masked and Anonymous (2003)
Tomatometer
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Reviews Counted:27
Fresh:3
Rotten:24
Average Rating:3.4/10
Consensus: Unintelligible and self-indulgent Bob Dylan vehicle.
Theatrical Release:Jul 23, 2003 Limited
Box Office: $115,149
Synopsis: Masked and Anonymous possesses such creative audacity, such a flow of ideas and provoking observations, transported by a barrage of wit, performance, and, of course, song, that you are bound to... Masked and Anonymous possesses such creative audacity, such a flow of ideas and provoking observations, transported by a barrage of wit, performance, and, of course, song, that you are bound to emerge from this singular film feeling both challenged and satisfied. Given the credentials of its architects, Larry Charles of Seinfeld and Bob Dylan, perhaps this is to be expected. But expectations are exactly what this extravagant political satire constantly overturns. At turns adventurous, playful, theatrical, and serious, this inspired combination of commentary and comedy is to be congratulated for what it accomplishes as much as the indulgence it avoids. Set somewhere, sometime, in an unnamed country, torn by civil war with unclear battle lines or ideology, Masked and Anonymous tells the story of a "benefit concert." Impressario Uncle Sweetheart (John Goodman) is scheming to find a headliner for this event whose purpose is unclear and whose charity is its promoter's pockets. Nina Veronica (Jessica Lange) is the veteran TV producer whose job it is to make the concert the international spectacle which it can never be. And when Sweetheart manages to get the iconic cult star Jack Fate (Dylan, in a wonderfully taciturn performance) released from prison, the stage is set for tumult. Jeff Bridges as the cynical investigative reporter, Penelope Cruz as his girlfriend, Luke Wilson as the devoted acolyte, and a sundry cast of supporting characters give this imaginative allegory its energy and spirit. Masked and Anonymous is part cartoon, part deconstruction, and all creative vision. -- © Sony Pictures Classics [More]
Starring: Bob Dylan, Jeff Bridges, Penelope Cruz, John Goodman
Starring: Bob Dylan, Jeff Bridges, Penelope Cruz, John Goodman, Jessica Lange, Luke Wilson, Christian Slater, Val Kilmer, Angela Bassett, Giovanni Ribisi, Mickey Rourke, Chris Penn, Cheech Marin
Director: Larry Charles
Director: Larry Charles
Screenwriter: Rene Fontaine, Sergei Petrov
Producer: Guy East, Marie Cantin
Studio: Sony Pictures Classics
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Reviews for Masked and Anonymous
The stellar but misguided cast ... is simply painful to watch as the doomed vehicle it's trapped in comes whistling toward a fiery crash landing.
A fascinating, vexing, indulgent, visionary, pretentious, mesmerizing pop culture curio.
The music is great. Dylan and his band do a half-dozen songs that crackle with energy.
If Seinfeld is the late sitcom about nothing, M&A is the feature about something. It's just that some of us out here in the hinterland can't figure out what it is.
Would have been much better if the makers had included more music, shot their actors with Ingmar Bergman close-up minimalism and made something looser, simpler and wilder.
The results are heavy-handed and oppressive in the way that vanity projects and bloated collective theatre experiments often are.
The movie qualifies as a catastrophic mess, a chaotic celebration of Dylan's mysterious image as singer, artist and (judging by this movie) near-catatonic.
Void of inflection, Dylan doesn't act, but stands and looks uneasy in whatever space the camera is pointing. The deadness in his eyes stops the movie cold.
Less the product of a '60s icon than a sixtyish crank, it tediously commutes between anger and inanity -- and whatever answers it pretends to offer aren't blowing in the wind, but merely carried along by a lot of hot air.
Masked and Anonymous is the rare movie that improves with repeated viewings, but is almost unendurable to sit through just once.
It requires tremendous restraint not to conclude that this entertainingly apocalyptic mess is about nothing, since it may well be about everything. But I doubt it.
Predictably, the product is pretentious and self-destructive, as disinterested in storytelling as it is brimming with misanthropic speechifying only a pop Mahatma could get away with.
I haven't seen so many talented actors in such an utter mess since well, since Hotel. It's as if Fellini had a brain cramp and turned his camera over to a blind man.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
| 57% 57% | 9 |
| 44% 44% | Jennifer's Body |
| 58% 58% | A Perfect Getaway |
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