LaBute would like us to know that neither sex has a monopoly on behaving very, very badly. Alert the media!
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
With delicious dialogue, robust wry performances and an imaginative outlook on how we as flawed beings can relate to our sexual expectations, things certainly Shape up in LaBute's preposterous yet pithy universe.
A motion picture not easy to shake...grim in its look at what one person is capable of doing to another, but it is not heartless.
(LaBute) hasn't augment the characters and settings with the additional depth and definition necessary to flesh out a stage production for the screen.
There are no surprises to be had in "The Shape of Things," which telegraphs its twist ending in its first ten minutes.
Shape is rather slight as compared to LaBute’s earlier creative cruelty-based concoctions but it nevertheless is a twisted celebration in the bonding of misguided personalities feverishly searching for that elusive emotional completeness.
Challenges and confronts, even as it forces the viewer to examine his own behavior.
An interesting, albeit wordy and often vitriolic, take on modern dating and the subjective nature of love.
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.
A chic, vitriolic polemic that's as irritating as it means to be provocative.
It's a compelling story, getting better as it goes along, but nonetheless suffers from being too obviously bound to its stage origins.
Undeniably intriguing and even disturbing. Yet, for various reasons, it's clearly not LaBute's most engaging or compelling effort.
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.
Having played these roles for so long and so often, Mol, Rudd, Weller and Weisz fully inhabit their parts.
I don't know if it's still possible for LaBute to surprise us the way he did with In the Company of Men, either with his cleverness or his nastiness, but he gives it his best shot here.
A sharp, witty and surprising film of cutting insights and cool-eyed cynicism.
Characters make self-conscious jokes, and other characters answer them with clumsy sarcasm; every line comes complete with arch, invisible quotation marks.
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