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Most Helpful Customer Reviews
17 of 20 people found the following review helpful:
5.0 out of 5 stars
something creative, new, insightful,
By Chad (LOS EEUU) - See all my reviews
14 of 17 people found the following review helpful:
2.0 out of 5 stars
A Noble Failure,
By Soderbergh has done some amazing things since SLV: "Traffic," "Erin Brockavich," "Out of Sight" and "The Limey." His mastery of the screen cannot be denied but unfortunately "Full Frontal" comes off only as weak and insipid...not as a companion piece to the milestone achievement that was "SLV." "Full Frontal" is a story about what it is to deal with and in the Hollywood of the year 2002. There is a film being made starring Julia Roberts and Blair Underwood and then there is purportedly the back-story starring a who's who of Hollywood...even a cameo by Brad Pitt.
10 of 12 people found the following review helpful:
3.0 out of 5 stars
ER, WHAT WAS THAT AGAIN?,
By
This review is from: Full Frontal (DVD)
From a quiet little picture called "Sex, Lies, and Videotape" to big punches like "Erin Brockovich" and "Traffic", Steve Soderbergh has charted quite a route. He even made possibly one of the most enjoyable big-name movies of 2001, Ocean's Eleven.Full Frontal was where he probably got his kicks doing something offbeat. Not many directors can, or would want to, knock off a quick, small-budget movie between major projects. But perhaps that's what makes Steven Soderbergh such an intriguing director. To put it simply, Full Frontal confused me. Its look at Los Angeles movie-industry culture has a way of telescoping further and further outwards. Using the visual technique for which he won the Oscar for Best Director on Traffic (he again operates as his own director of photography on this movie under the alias of Peter Andrews), he separates the different storylines and worlds with different visual looks. Much of the film is shot on digital video, giving it a harsh, washed-out look. The movie-within-the-movie is on standard 35mm. And there are two move levels even beyond that, one featuring David Fincher and Brad Pitt. I had trouble gaining full acceptance for Full Frontal. It covers its emotional resonance with layer upon layer of stylization and apathy. He holds the characters at arms length, never really showing any sympathy for their situations. Part of this is his visual style, which, while helpful in understanding the way the movie operates, tends to lend more of a documentary feel to the proceedings. Its wild tonal shifts can throw the viewer off ..., and Catherine Keener's behavior through the first two acts make it difficult to connect with her breakdown in the third. Perhaps die-hard film geeks will rave about Full Frontal for its cleverness and its "offbeat"ness. But that cleverness comes at the expense of the emotion that lies at the heart of this story. All style and no substance, which is probably what Soderbergh was going for. And for that, it works. But it's difficult to care.
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