The Shape of Things (2003)
Country: US/FR
Technical: FotoKem/scope 97m
Director: Neil LaBute
Cast: Gretchen Mol, Paul Rudd, Rachel Weisz, Frederick Weller
Synopsis:
A nerd is used by an art student as an unwitting living sculpture for her thesis (the changeability of a man's moral character in accordance with the image he projects of himself), while at the same time she affects to be romantically interested in him.
Review:
A return to misanthropic form for LaBute, a kind of distaff version of In the Company of Men with the difference that the male victim this time is granted the privilege of talkback. Its theatrical origins are apparent at times in the self-consciousness of the acting and portentousness of the dialogue, but Weller is particularly enjoyable as the best friend.
Country: US/FR
Technical: FotoKem/scope 97m
Director: Neil LaBute
Cast: Gretchen Mol, Paul Rudd, Rachel Weisz, Frederick Weller
Synopsis:
A nerd is used by an art student as an unwitting living sculpture for her thesis (the changeability of a man's moral character in accordance with the image he projects of himself), while at the same time she affects to be romantically interested in him.
Review:
A return to misanthropic form for LaBute, a kind of distaff version of In the Company of Men with the difference that the male victim this time is granted the privilege of talkback. Its theatrical origins are apparent at times in the self-consciousness of the acting and portentousness of the dialogue, but Weller is particularly enjoyable as the best friend.
Country: US/FR
Technical: FotoKem/scope 97m
Director: Neil LaBute
Cast: Gretchen Mol, Paul Rudd, Rachel Weisz, Frederick Weller
Synopsis:
A nerd is used by an art student as an unwitting living sculpture for her thesis (the changeability of a man's moral character in accordance with the image he projects of himself), while at the same time she affects to be romantically interested in him.
Review:
A return to misanthropic form for LaBute, a kind of distaff version of In the Company of Men with the difference that the male victim this time is granted the privilege of talkback. Its theatrical origins are apparent at times in the self-consciousness of the acting and portentousness of the dialogue, but Weller is particularly enjoyable as the best friend.