The Shape of Things continues that cat-and-mouse game of wits, a kind of rebellion against viewer complacency.
The Shape of Things (2003)
Tomatometer
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Reviews Counted:133
Fresh:86
Rotten:47
Average Rating:6.3/10
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
LaBute's strength is in utilizing so many of those rom-com genre conventions not to celebrate love but to expose its inherent coldness and cruelty.
At least tries to push buttons, but the conversations you'll hear after the film will likely be more thought-provoking than the ones in it.
Harsh, unflattering, and outrageous, it is guaranteed to leave a prolonged impression.
I don’t know that I think it’s an entirely honest work, but one aspect of it is so universal that it’s honest enough to be uncomfortable.
Thank you Neil LaBute, you bastard. If only there were more like you to challenging us to look a little deeper in the mirror everyday.
The shape of this thing is warped. It's a four-character play masquerading as a movie.
There's an immediacy to many scenes that's hard to deny. These people get under your skin and gnaw away.
The resolution of the Evelyn/Adam dynamic -- the script's true area of interest -- proves worth the wait.
Rachel Weisz's treachery is admittedly fun to watch, but if you've seen any of LaBute's earlier films, you wonder if he just needs to start hanging out with nicer people once in a while.
There was too much of the neurotic artist in the prose to speak for all art.
[LaBute's] stagy but delectable dialogue drips with effective urgency.
...one cannot help but be impressed by the economy and power with which LaBute frames his argument.
There is also no real emotional investment for the viewer with the characters in “The Shape of Things,” with the exception of a charming and likable performance by Gretchen Mol.
Little more than a clever undergrad thesis gone awfully wrong, it turns on the less than shocking proposition that women are as unlikable as men.
This film, like earlier [LaBute] ones, is a precise little jewel box of misanthropy -- of men and women fighting a battle of the sexes with no winners, only casualties.
...LaBute's done a fantastic job of creating four distinct characters who aren't easily identifiable.
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