The facial jewellery, Elvis Costello music and cell phones notwithstanding, you keep expecting these people to challenge each other to duels with rapiers at dawn.
The Shape of Things (2003)
Tomatometer
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Reviews Counted:38
Fresh:19
Rotten:19
Average Rating:5.7/10
Consensus: LaBute returns to his earlier themes of cruelty in relationships, and the results hit hard.
Theatrical Release:May 9, 2003 Limited
Box Office: $662,763
Synopsis: Rachel Weisz, Paul Rudd, Gretchen Mol, and Frederick Weller star in Neil LaBute's adaptation of his own stage play, which also featured all four actors. The film focuses on the unlikely romance... Rachel Weisz, Paul Rudd, Gretchen Mol, and Frederick Weller star in Neil LaBute's adaptation of his own stage play, which also featured all four actors. The film focuses on the unlikely romance between precocious art grad student Evelyn (Weisz) and shy English undergrad Adam (Rudd). As their relationship progresses, the unhip, bookish Adam is brought out of his shell by the spontaneous, opinionated Evelyn. Soon Adam is losing weight, wearing contact lenses instead of glasses, and dressing more fashionably than before. However, Adam's changes begin to affect his longtime friendship with the optimistic, attractive Jenny (Mol) and the cocky, smug Philip (Weller), who are now engaged. Soon the four become involved in a variety of uncomfortable entanglements, ultimately leading to a disturbing revelation. A welcome return to form for LaBute after the period-piece detour of POSSESSION, THE SHAPE OF THINGS finds the provocative director-screenwriter back in the darkly comedic vein of his first two films, IN THE COMPANY OF MEN and YOUR FRIENDS AND NEIGHBORS. Whereas those two movies focused on the ruthless and manipulative side of the male psyche, this film features a woman carrying out the same sorts of questionable acts of cruelty. As LaBute's film goes from sweet to sadistic, it brings up larger issues involving art and relationships, but these points never detract from the fine ensemble performances or the intriguing central story. Shot in California, the sunny backdrop of THE SHAPE OF THINGS works wonderfully as the counterpoint to the film's shady proceedings and allows the stage-play roots of the tale to unfold in a different light. [More]
Starring: Rachel Weisz, Paul Rudd, Gretchen Mol, Frederick Weller
Starring: Rachel Weisz, Paul Rudd, Gretchen Mol, Frederick Weller
Director: Neil LaBute
Director: Neil LaBute
Screenwriter: Neil LaBute
Producer: Gail Mutrux, Philip Steuer, Rachel Weisz, Neil LaBute
Studio: Focus Features
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Reviews for The Shape of Things
With outstanding performances from Rudd and Weisz, this is an unsettling, provocative and nasty little gem.
LaBute would like us to know that neither sex has a monopoly on behaving very, very badly. Alert the media!
At best, the movie is a problematic chamber piece; at worst, a misdirected, slightly misanthropic pretension.
Raises interesting questions about the power exerted in relationships and the amount of control a person can or should have over another.
The film is certainly clever enough to hold an audience's interest throughout, though in the end it's a victim of its own ambition.
Characters make self-conscious jokes, and other characters answer them with clumsy sarcasm; every line comes complete with arch, invisible quotation marks.
You walk out feeling and thinking differently than when you walked in. Isn't that what art is supposed to do?
LaBute seems to be relying on big moments that never show up and surprises spied long ahead of time.
Intellectually, Shape is a tour de force that can't be dismissed merely for the coldness it makes us feel. Artistically, it should have been called 'Abandon Hope All Ye Who Enter Here.'
Aside from the faces of the actors, there is very little in The Shape of Things that is recognizably human.
Every time [LaBute's] characters start to act natural, begin to breathe, live and display ordinary human desire, they bump into the walls of the wildly unlikely plot structure in which he has imprisoned them.
Besides repeating his premise that only fools fall in love and deserve whatever circle of hell they enter for it, [LaBute] seems to really believe that morality has no place in art. Certainly, he's keeping it out of his.
LaBute has extracted the maximum amount of meaning from his material by letting us approach it from every possible angle, like a piece of sculpture.
Instead of characters, LaBute seems to have created lab rats, those who chew and those who get chewed up as they race through the movie's artificial maze.
The problem with Shape is that it's exactly what it seems: a recycled four-character play ... that someone mistook for a clever movie.
Latest News for The Shape of Things
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