I enjoyed the hell out of this from it's clever opening credits throughout the out of body experience. Never have I seen a film that examines consciousness and existence so well visually/acoustically. There's so much we take for granted about life, death, consciousness and what lies in between that VOID points out so gracefully. Not that the film's content is anything new, but Noe internalizes it so masterfully. Plot really does no good in explaining what the film is actually about and this is a credit to the innovative nature of the film. When has first person point of view (1) ever worked well for such an extended period and (2) added to experience and context of what the film is trying to convey? VOID doesn't just conceptualize, but makes you feel. Don't get me wrong, the technique was at times frustrating, but if you are receptive enough you'de realize Noe is intentionally playing with your sense of time and space.
I wasn't as irritated with the vulgarity of the film as some were. I think if you view the humor in a more Nihilist way, you're going to enjoy it a lot more. Yes, at times the commentary is a little angsty and convoluted, particularly any interaction with Elizabeth Moss' character. I didn't care about the three-some itself so much as the pseudo feminist intent behind the scene. I have to believe Moss' was type-casted somewhat based on her work on MAD MEN.
Otherwise, just remember you are watching a film that invites you to recognize it as such. The vulgarity of it all is the filmmakers way of saying, "The joke on you if you're offended by what you see or hear." The movie alone is worth seeing because of P. Diddy-- he is hilarious throughout, steals the show, and leaves me wanting more.
Well acted and the familial dynamic was developed nicely, but it's ultimately boring. It seemed like the film was a little too self-interested in its privileged setting. Look everyone LGBT couples are so normal, we can make them into mediocre, melodramas too! There were far too many generic elements: it's greener california setting, sheek and trendy housing and decor, organic foods, fine wines, Joni Mitchell records and a predictable mix of familial tensions with a holier-than-thou tinge. I don't have a beef with going green, fine wines, or buying local, it's just these items seemed to be stressed as a point of pleasure rather than as a point of satire.
The ending with Ruffalo (spoiler alert kinda) also seemed to fulfill an anxious psychological fantasy. I'm not defending the guy, but they did seek him out and he was predictably at fault. Surprise. Surprise. The man did it. This may sound cruel to some who liked the film, but I think the depth the actors provided saved the film's shabby dialogue and run of the mill story.
On a slightly related note, it's like the plot of the film what completely hidden in the film's glossy advertising. Good times, witty dialogue, life is good, let's pat ourselves on the back.