Much of "Twentynine Palms" is ludicrous, awful...
Twentynine Palms (2004)
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Reviews Counted:36
Fresh:16
Rotten:20
Average Rating:4.9/10
Consensus: A muddled and inconsequential drama.
Theatrical Release:Apr 9, 2004 Limited
Synopsis: French philosopher-turned-filmmaker Bruno Dumont follows up his award-winning drama HUMANITE with the equally devastating TWENTYNINE PALMS. Dumont's self-professed "experimental horror film"... French philosopher-turned-filmmaker Bruno Dumont follows up his award-winning drama HUMANITE with the equally devastating TWENTYNINE PALMS. Dumont's self-professed "experimental horror film" follows a couple as they journey to the California desert town of Twentynine Palms and encounter true evil. David (David Wissack), an American photographer, and his Russian girlfriend Katia (Katia Golubeva), are scouting locations for an upcoming photo shoot. During the day, they drive David's Hummer into the expansive desert and roam freely, while at night, they argue in broken French and have animalistic sex. Eventually, their luck runs out, as the outside world catches up to them and causes their tragic demise. TWENTYNINE PALMS is a jaw-droppingly brash work of art. Dumont takes a stylistic cue from French master Robert Bresson, simplifying his filmmaking technique in order to ponder deeper issues of humanity (good vs. evil, love vs. hate, sex/life vs. death). The result is a truly challenging film, which will confound and anger as many viewers as it stimulates and thrills. Like Lars von Trier's DOGVILLE, TWENTYNINE PALMS will also be accused of anti-Americanism, but Dumont's message is clearly a universal one. He uses a sparse yet familiar American landscape to subvert viewer's expectations, building to one of the most shocking finales in cinematic history. [More]
Starring: Katerina Golubeva, David Wissack
Starring: Katerina Golubeva, David Wissack
Director: Bruno Dumont
Director: Bruno Dumont
Screenwriter: Bruno Dumont
Producer: Jean Brehat
Studio: Wellspring
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Reviews for Twentynine Palms
Cannot entirely be dismissed, because the director so adamantly knows what he's doing.
With repetitive scenes of their rambling road trip, Twentynine Palms is more like a Humvee commercial, with plenty of hummers along the way.
Even adventurous moviegoers who are familiar with Bruno Dumont's previous features ... and consider themselves comfortable with his style -- long takes, graphically depicted sex, sudden violence -- may be taken aback by the intensity of this shocker.
Filled with Meaning, but completely pointless, Bruno Dumont's excursion into banality may well spell the death of minimalist cinema.
At turns sexy, ultra-violent and sweet, it will infiltrate your brain long after you've seen it.
The sustained force of Bruno Dumont's vision of existence as a swirl of brute instincts may not be easy to absorb, but it marks him as a major filmmaker.
Nihilism is a crude instrument, even for those with talent, and it can be especially hazardous for those who believe, as Dumont apparently does, that the sum total of existence is 'sex, love and evil.'
Dumont's methods are radical, but there's a fascinating method to his seeming cinematic madness.
Over and over in Twentynine Palms, Dumont rubs our noses in every detail of this tumultuous, yet oddly inconsequential, relationship.
A controversial French film about the Siamese twins of pleasure and pain and how you can't have one without the other.
This is one of those films in which the Act of Driving becomes a 10-minute statement of high emptiness.
Welcome to one man’s personal apocalypse, which erupts like a nuclear bomb from inside the individual.
Director Bruno Dumont successfully opens up what is at heart a theatrical piece involving just two people.
It's nothing sex in a movie about nothing people doing nothing in the middle of nowhere for no reason. I think that's the effect Dumont was going for.
Dumont is clearly fascinated by America’s wide-open spaces, and much of Twentynine Palms is a love poem to the way we look at the world.
Dumont's taste for the elemental has always flirted with the moronic. But this time, he's dozed off at the wheel and drifted well over the line.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
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| 44% 44% | Jennifer's Body |
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