Spinning Into Butter is the perfect example of a movie taking an interesting premise and, through incompetence of acting, writing and directing, turning it into an unwatchable mess.
Spinning into Butter (2009)
Tomatometer
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Reviews Counted:31
Fresh:5
Rotten:26
Average Rating:3.6/10
Consensus: Both leaden and stilted, Spinning into Butter is an unsubtle drama with stagy direction and lackluster dialogue.
Rated: R [See Full Rating] for language.
Genre: Dramas
Theatrical Release:Mar 27, 2009 Limited
Synopsis:
Sarah Daniels, (Sarah Jessica Parker) is the Dean of Students at the elite, isolated Belmont College in Vermont. After a tough stint at a Chicago college with a mostly African-American student...
Sarah Daniels, (Sarah Jessica Parker) is the Dean of Students at the elite, isolated Belmont College in Vermont. After a tough stint at a Chicago college with a mostly African-American student population, Sarah seems to have settled into life at Belmont, where the mostly white student body has become more ethnically diverse after aggressive recruitment of students of color. It’s with great pleasure that Sarah convinces student Patrick Chibas (Victor Rasuk) to accept a huge scholarship for his outstanding work -- even if he has to reclassify himself as “Puerto Rican” (instead of his preferred “Nuyorican” -- he’s never even been to Puerto Rico even though that is his heritage).
But the racial landscape becomes suddenly charged when racist notes are left on the dorm room door of Simon Brick (Paul James), a quiet and shy African-American student. The incident sparks a quick reaction from college Deans Kenney (Miranda Richardson) and Strauss (Beau Bridges), who quickly convene a “race forum” in order to appeal sensitive to the needs and safety of their students. Sarah attends the meeting, which offers little in the way of dialogue and much in the way of public posturing by University president Garvey (James Rebhorn): aside from the campus minister, there is not a person of color on the stage, and students of all races mock the pathetic attempt at addressing a serious incident.
Indeed, students are only too ready to speak to local reporter Aaron Carmichael (Mykelti Williamson), who is himself recently arrived from Chicago. As one of the few African-Americans living near the college, Aaron seems particularly interested in the more subtle forms of racism that occur in the supposedly liberal atmosphere. Sarah, recognizing him from his work in Chicago, asks him to be respectful of Simon’s privacy, and not to stir up too much trouble.
But the racial threats continue -- a rock through Simon’s window, then a noose, and the students seem to be taking it out on each other. Another hastily assembled “forum” turns violent after Patrick Chibas reveals how he was forced to change his ethnicity to get a scholarship because of the administration’s inability to understand the complexities of racial identity. A fight breaks out and makes the evening news, and Sarah is told by the deans to come up with a “ten-point plan” to end racism on campus.
Having found a sympathetic ear in Aaron -- neither of them are particularly happy with the way the issue is being handled, and see themselves as outsiders -- Sarah confesses to Aaron that she, too, has frequent racist thoughts, remnants of her experience in Chicago where some black students -- particularly young men -- often frightened her. She can’t help herself from feeling scared of black men even though she knows there is no justification, and the absurdity of her “ten-point” task makes the entire matter seem hopeless. Aaron says that their only recourse is to find the person who is responsible for the racist threats; until then, it seems that everyone has a guilty hand.
The perpetrator IS found by a group of black students who catch him spray painting “N-I-G” on the wall of an all-black residence -- Sarah is called by the students to find that the guilty party is someone entirely unexpected. As Sarah weighs out her options, she begins to appreciate just how deeply embedded ethnic bias is woven into the language and behavior of those around her, and prompt her to take drastic action when she realizes that, despite the good intentions of many, the system is not going to change.
--© Screen Media Films
Starring: Sarah Jessica Parker, Miranda Richardson, Beau Bridges, Mykelti Williamson
Starring: Sarah Jessica Parker, Miranda Richardson, Beau Bridges, Mykelti Williamson, Paul James
Director: Mark Brokaw
Director: Mark Brokaw
Screenwriter: Doug Atchison, Rebecca Gilman
Studio: Screen Media
Reviews for Spinning into Butter
Butter makes a disastrous transition to film, aiming to salvage pertinent points on the witch's brew of racism through a filmmaking undertaking perhaps best described as "total clown shoes."
The biggest lesson from Spinning Into Butter has nothing to do with the ethics of race and more with realizing that every hit play doesn't need to be turned into a movie.
Painfully earnest and unrelievedly stilted and cliched, the movie is less a drama than a well-meaning but rather ridiculous diatribe.
Initially compelling, but spins into a hodgepodge of contrived scenes, uneven drama and poorly developed, yet provocative issues that simmer for too long without actually coming to a boil.
This movie would’ve been bad in 1983, but at least it would’ve been original.
The staging by theater director Mark Brokaw, in his first feature, is, well, stagy. I don't mind a movie where people spend a lot of time jawboning, but what they say had better be interesting.
Crash was a master class in subtlety compared to Spinning Into Butter.
Betraying its theatrical origins, Brokaw's feature debut is a vastly disappointing message movie in which Sarah Jessica Parker (also credited as producer) is miscast, to say the least.
The foils have no compunction about hurling ugly truths at each other, most of the time much too literally to work on screen.
The material is crying out for a satiric wit or at least a stronger point of view. Instead, it's a mishmash in which everyone gets to say his piece, but all of it has been said before.
This movie adaptation of Rebecca Gilman's play is a methodical, not to say mechanical and plodding, exploration of identity politics and language.
The best of intentions and a welcome willingness to engage on the touchiest issues is not enough to keep this movie from feeling more like a seminar than a story.
Credit goes to playwright Gilman and company for addressing an ugly situation head on. Unfortunately, it's a scenario that lends itself to hot air and that's what the movie blows.
The film feels stuck in a particularly '90s-flavored argument -- about political correctness and culture wars on campus -- that you probably got tired of during your junior year.
Despite an earnest and dour tone, the story and the subjects tackled are compelling and thought-provoking.
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