The work of someone who has read too much of his own press, and in his rush to make a film to address critics, forgot to come up with a movie worth seeing.
Storytelling (2002)
Tomatometer
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Reviews Counted:89
Fresh:47
Rotten:42
Average Rating:5.6/10
Rated: R [See Full Rating] for strong sexual content, language and some drug use
Runtime: 87 mins
Genre: Dramas
Theatrical Release:Jan 25, 2002 Limited
Box Office: $850,758
Synopsis: Director Todd Solondz (WELCOME TO THE DOLLHOUSE, HAPPINESS) presents this characteristically bleak and darkly comic drama in two distinct parts. The first story, "Fiction" stars Selma Blair as Vi,... Director Todd Solondz (WELCOME TO THE DOLLHOUSE, HAPPINESS) presents this characteristically bleak and darkly comic drama in two distinct parts. The first story, "Fiction" stars Selma Blair as Vi, a confused university student who engages in an impulsive tryst with her Pulitzer Prize-winning professor (Robert Wisdom) after arguing with her cerebral palsy-afflicted boyfriend (Leo Fitzpatrick). The second (and longer) tale, "Non-Fiction," stars Paul Giamatti as Toby, a down-on-his-luck documentary filmmaker who turns his camera on Scooby (Mark Webber), an unmotivated teenager, and his suburban New Jersey family. At times even more controversial and confrontational than Solondz's previous films, STORYTELLING bluntly addresses issues such as race, sex, physical impairment, education, censorship, and exploitation, while not-so-subtly referencing and parodying both AMERICAN BEAUTY and AMERICAN MOVIE (whose own Mike Schank appears in the film). Cannily aware of both his admirers and detractors, Solondz has taken the intriguing step of criticizing his own work within the creative confines of the two stories. As with HAPPINESS, the director has assembled an impressive ensemble cast that also includes John Goodman, Julie Hagerty, Franka Potente, and Lupe Ontiveros. As a counterpoint to the often-glum proceedings, a bright, airy soundtrack is provided Belle and Sebastian and songwriter Nathan Larson. [More]
Starring: Paul Giamatti, Selma Blair, Mark Webber, Leo Fitzpatrick
Starring: Paul Giamatti, Selma Blair, Mark Webber, Leo Fitzpatrick, Robert Wisdom, John Goodman, Julie Hagerty, Noah Fleiss, Jonathan Osser, Lupe Ontiveros, Aleksa Palladino, Mike Schank, Franka Potente, Xander Berkeley
Director: Todd Solondz
Director: Todd Solondz
Screenwriter: Todd Solondz
Producer: Ted Hope, Christine Vachon
Composer: Nathan Larson
Studio: Fine Line Features
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Reviews for Storytelling
A two-part film by Solondz that confirms his special affinity for subversive but discomfortingly truthful humor.
I think Solondz, as dispassionately as possible, is offering a pretty shrewd and insightful look at the nature of exploitation and manipulation in society.
One of recent memory's most thoughtful films about art, ethics, and the cost of moral compromise.
By not averting his eyes, Solondz forces us to consider the unthinkable, the unacceptable, the unmentionable.
The work of a previously promising filmmaker who, having no new ideas, has morphed into a sniggering schoolboy intent upon being mean.
The art of Storytelling too often degenerates into a rant, losing its very own hard-bought truth.
It feels like a transitional film for a director with something to get off his chest, and whose best work is hopefully yet to come.
There are unnervingly fine performances from Selma Blair as the aspiring fiction writer and from Mark Webber as Scooby.
How lame is it that a leading indie like Solondz has resorted to Hollywood send-up?
Fling whatever pejorative you like at Todd Solondz's new film, Storytelling. You probably won't miss your mark.
Shocking only in that it reveals the filmmaker's bottomless pit of self-absorption.
Solondz creates a unique landscape of suburban-bred misery, hypocrisy, and vulnerability, a bleak vista that continually forces viewers to shift sympathies and antipathies.
Too much of Storytelling moves away from Solondz's social critique, casting its audience as that of intellectual lector in contemplation of the auteur's professional injuries.
[Solondz is] so interested in challenging us and offending us that he's sacrificing some of the storytelling in each of these films.
An inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength.
It’s a feel-bad ending for a depressing story that throws a bunch of hot-button items in the viewer’s face and asks to be seen as hip, winking social commentary.
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