I had been waiting for this movie to hit the theaters after having read about its showing at Sundance, and was quite surprised to see that it went directly to dvd. Especially with such a deep cast.

At first I couldn't tell whether it was a comedy or docudrama. Having seen it I still wonder.

Rather than one storyline this movie is about several. There is the designer (Rita Wilson) whose partner (Leslie Mann) has left her to seek fortune elsewhere. There is the Versace-esque Italian designer (Paul Sirvino) who must face health and family crises. There is the photographer (Jared Harris) juggling work and personal relationship. Then there's the magazine editor (Joanne Baron) whose abandoned daughter (Michelle Williams) suddenly reappears in her life.

Director Rymer wants to give the audience an inside look at the fashion industry, and he does accomplish this on several levels. The designer's assistants following her everywhere; the brief but very real segment of shuffling seating assignments for a fashion show; the editor's assistant (Angela Bettis) screening for her worshipped boss. Some of the exchanges are readily identifiable to all (photographer and girlfriend), some are true-to-life but foreign to those outside the industry (designer and her assistants) but some are so last season (conglomerate quoting Henry James).

What this film needs is more attitude. We see the backstabbing and false niceties, but the only part of the movie that reflects the snobbishness prevalent in the industry is at the reception desk at the magazine office.

Those without first-hand experience with New Yorkers might doubt the dialogue, but it is largely faithful. It is however also highly inconsistent--at times the scenes, the ones that worked, seemed unscripted (reportedly there was some improvisation) and at times it is so spoofy goofy you wonder how many different writers were behind it. Because of the quick pace, you pay attention to the exchanges and not overly scrutinize the acting. You won't get to see too much of the inner workings of the fashion industry, but you could familiarize yourself with its personalities. If you don't sigh paying two bucks for a bottle of Evian, then surely you can have some fun with this movie.

Summary: Like New York and the fashion industry, fast and fun, but lots of loose threads.

Note: Don't be fooled! Carmen Electra's name appearing on the main credits (i.e., cover of the dvd) is ludicrous and an obvious marketing ploy. She appears in just a couple of scenes and a total of maybe five minutes in the movie. The same could be said with several others...Estella Warren, prominently featured as the poster girl for this release, is merely in an opening scene and a closing one. One glaring omission in the main credits but a standout in the movie is Jared Harris, who gave a very convincing performance as the fashion photographer having to deal with egos on the job and go home to a girlfriend whose demands he can't quite satisfy.

DVD note: very standard fare, no bonus material, which is disappointing, considering there must have been a ton of unused footage.

A review in IMDB can't say it better! -

Quote-Excerpt:

If you've ever been around "the fashion world," or grown up reading "fashion magazines," you will understand EXACTLY what this film portrays: "Life, Exactly As They Know It!" The "choppiness" and "vagueness" objected to by other reviewers is EXACTLY why this is such a great film, why this is such a "Real" film: anyone who has ever been around "these people" will see exactly how the dialogue mirrors "real life" in the fashion / magazine biz. The "one real scene" between Hemmingway and the photographer (as described by another reviewer) is precisely showing how rare and difficult a "real" moment is to find. In fact, they are ALL "real scenes," wherein lies their power. The scene where the daughter, (not "drug addled," by the way, as described by another reviewer) who is the antithesis of "fashion," describes how reading magazines "makes her feel bad about herself" and her mother's instant rejection and leaving of the restaurant, is telling precisely the truth. And then any woman who rejects "fashion standards" is left alone at the table. The emptiness of the life and the constant ebb and flow of current, changing tides, makes any real or lasting connection impossible. This is even alluded to with Paul Sorvino in one discussion about going to the hip-hop look: something to the effect of "in Europe, classic can last... in America, you have to keep moving!" Then the hip hop boys point out that the baggy-pants hip hop look was born from poverty and "10 brothers and sisters, but the suburban kids will follow" even at an unaffordable $150.00 a pop! But that's the game!" Until I saw this film, I never understood why I was not accepted - could never connect with anyone in the "Fashion Crowd" when I lived in Paris and New York. Now I know why. What was there to connect to? People who "didn't want to be nothing" People who made their living preying on others creativity and beauty, at the cost of making everyone else feel like "less?" An industry that feeds on people's insecurities and wanting to "fit in?" I liked the daughter the best. She stood alone, sad and lost, but stayed true to herself in the end and went on home, wherever that might be. There are so many profound statements in the dialogue of this film that it would be worth printing every one of them here. Perhaps some film buff / college student might write a dissertation on this film alone. Who sang the beautiful music with hip hop and opera combined? I would love to have a music CD of the film, and am buying the DVD just so I can "listen to the film" again and again. Hope to see more. Thank you all! Great job!