Despite [Solondz's] undeniable talent, however manipulative, his stories are too sour and mean-spirited for my taste.
That Storytelling has value cannot be denied. Not even Solondz's thirst for controversy, sketchy characters and immature provocations can fully succeed at cheapening it.
| Original Score: B+
In his latest effort, Storytelling, Solondz has finally made a movie that isn't just offensive -- it also happens to be good.
| Original Score: 3/4
Solondz is without doubt an artist of uncompromising vision, but that vision is beginning to feel, if not morally bankrupt, at least terribly monotonous.
| Original Score: 2.5/5
A frustrating experience, made more so by the seemingly self-referential moments in the film.
| Original Score: 2/4
Sometimes seems less like storytelling than something the otherwise compelling director needed to get off his chest.
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.
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.
| Original Score: 3/4
By not averting his eyes, Solondz forces us to consider the unthinkable, the unacceptable, the unmentionable.
| Original Score: 3.5/4
The lower your expectations, the more you'll enjoy it.
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.
Brutally funny -- and not a little horrifying.
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.
| Original Score: B-
[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.
Going over the top while sustaining a poker-faced tone, Solondz makes sure that whether you love or hate what you see, you can't ignore it.
Tiresome and dull, like watching someone else's 2-year-old act out for the 50th time.
| Original Score: 1/4
A virtuoso work in every aspect in which Solondz shakes a fist at the inescapability of human limitations colliding with the perversity of fate.
| Original Score: 4/5
More than any other filmmaker, Solondz represents the worst trend of American indie filmmaking over the last 10 years: the movie as freak show.
The leanest and meanest of Solondz's misanthropic comedies.
A fearlessly funny movie whose laughs draw blood, a bracingly provocative movie that won't apologize for its bad temper.
| Original Score: 4.5/5
Awfully funny. And I do mean awfully.
| Original Score: 3.5/5
Squanders a terrific cast and some tremendous early promise on a weak structure.