Customer Reviews

Roger Dodger [VHS]

5 star:		(19)
4 star:		(27)
3 star:		(3)
2 star:		(1)
1 star:		(5)

 

 

When people grab your arm and say "You gotta see this movie!" it usually means I will hate it. After the smartly written opening scene though, I was pleasantly surprised and I was on board for the rest of the film. At the risk of contradicting myself, I normally don't like dialouge driven independent film, particularly set in an urban setting such as Manhattan. Nothing against NYC, it's just they tend to confuse pontification and philosophy as substance for character. However the writer/director manages to get his ideas across with out preaching, making for a highly watchable film. There is a slight pretension to this movie, but only because it is encapsulated in the main character, Roger, played brilliantly by Campbell Scott. I've always liked watching Scott and he does not dissappoint. He gives a performance that will hopefully get him noticed again. And it's balanced wonderfully by Jesse Eisenberg, who plays his nephew that looks to Roger to educate him in manners of the opposite sex.
The other thing that I liked about this film is the pace. This is "A Night in the Life" premise but it moves quickly and you really don't realize your watching that type of movie until after it's over. The hook that keeps you watching is not only Scotts performance, but wondering if the nephew is going to lose his virginity.
The only critizism I have of the film is that it's shot entirely hand held. The style lends itself well to the film, but I would love to see what this director does with a steadycam.
You don't "Gotta see this movie!" but it's an intellegent distraction with a unique charm. And a great film for those who like New York stories. A good addition to a library.

Roger Swanson (Campbell Scott) is a ruthless self-absorbed big city ad copywriter who spends his free time sleeping with his boss (Isabella Rossallini) and using his insulting overbearing wit in constant desperate attempts to bed every woman he meets. His boss breaks off their relationship the same day his teenaged nephew Nick (Jesse Eisenberg) shows up seeking Roger's advice on sex and romance. Roger and Nick set out to find Nick a woman using Roger's finely-honed method of operation. Through a series of womanizing episodes in bars and brothels, the depth of Roger's emotional dysfunction and self-loathing are revealed. Even as Roger is in many ways repulsive, he is also energetic, witty and ultimately at least partially redeemed.

Campbell Scott's portrayal of Roger Swanson's conglomeration of fierce intelligence, acute self-loathing and borderline alcoholism was one of the finest performances of 2002. I find that the greatest performances involve an impeccable sense of timing on the part of the actor. Campbell Scott's flawless timing combined with emotional transparency and palpable energy make this performance extraordinary. He deserved an Oscar nomination. Roger Dodger also boasts an excellent supporting cast. Jesse Eisenberg is perfect as sweet, hapless, but eager-to-learn Nick. Isabella Rossallini, Elizabeth Berkley, and Jennifer Beals make solid contributions as Roger's boss and two women whom Roger and Nick try to pick up, respectively.

Roger Dodger doesn't contain any action or romance, and its humor is strictly sardonic. But it is one of the best films of 2002. If you like great movies and great performances, Roger Dodger is a Must-See.

Roger Swanson is a coldhearted, fast-talking yuppie businessman who has cynically reduced the man-woman equation to its Darwinian essentials. To Roger, women are objects to be conquered not people to be respected, and he has learned to employ his good looks, charm and over-analytical mind in the service of getting laid. When Nick, his naïve, inexperienced 16-year old nephew comes to town, Roger decides to train the boy in the fine art of manipulation and seduction, taking him out for a night on the town that the youngster will not soon forget.

As conceived by first time writer/director Dylan Kidd, "Roger Dodger" is less a full-fledged narrative and more a series of extended conversations. And I, for one, couldn't be happier, for the dialogue Kidd has come up with is sharp, observant, insightful and witty, as Roger opens up and reveals his unique perspective on the dating scene. He uses his mouth like a machine gun, shooting rounds of rapid-fire, staccato comments, indifferent to who's left standing when he's done. He really has no qualms about "corrupting" his underage nephew, never seeing or caring about the corrosive effect he may be having on him. In the process, we learn quite a bit about Roger as a person, most especially the aloofness he feels from others and his inability to make any kind of emotional connection that really works. Long estranged from his father and sister, Roger is also facing a breakup with the older woman he's recently come to fancy (his boss in fact). Roger is a humorous figure but also an immensely sad one, for he really does seem - for all his bravado and bluster to the contrary - to be a lonely, unhappy guy. We are simultaneously drawn to him by his confidence and charisma and repelled by his smarminess and coldness, just like the characters in the film. As Roger, Campbell Scott does a superb job bringing out both of those seemingly contradictory qualities. A non-stop talker, Roger knows how to draw all the attention in the room to himself; he is (at the risk of mixing my metaphors here) like a chattering vortex up there on the screen and we can't help but be sucked in by his personality and presence. No wonder Scott won the 2002 award for Best Actor from the National Board of Review. In fact, I haven't seen a performance this smooth, alive and energetic in a very long time. Equally impressive is young Jesse Eisenberg whose wide-eyed innocence and youthful decency provide an effective counterpoint to the brash but empty Roger. Isabella Rossellini, Elizabeth Berkley and Jennifer Beals also turn in outstanding performances as the various ladies who play a part in the two men's adventure.

In his debut film, Kidd shows himself to be in full control of his medium. He employs a jittery, handheld camera in almost every scene, a technique that may bother some people but which heightens the sense of realism so essential to the nature of the story. In this way, the audience is made to feel almost like an eavesdropper on the various conversations. Kidd should also be commended - in this day of maximum special effects and minimal verbiage - for allowing his characters to speak at great length on any number of topics. Many another filmmaker would have felt intimidated by such a heavy reliance on dialogue. Kidd, obviously, feels intoxicated by the beauty of language and his intoxication becomes ours.

Roger is a fascinating case study mainly because we feel so ambivalent in our attitude towards him. Just as we are about to consign him to the category of heartless, cold-blooded bastard, he wins us over by showing us that barest glimmer of humanity that peeks out every so often from beneath his well-oiled exterior.

"Roger Dodger" is not only an intriguing, amusing and poignant tale of realtionships and sex in the modern world, but a confident first film that augurs well for its gifted young maker.

Prepare yourself for an illuminating evening which begins in an upscale New York bar but slowly degenerates into visiting some of the more unseamly locations of the big city. The story revolves around Rodger (Campbell Scott), an egotistic, insecure, overly analytical wordsmith who has just been dumped by his female boss (Isabella Rossellini). His sixteen year old nephew Nick (Jesse Eisenberg) unexpectedly shows up in his office and Roger decides to break the young boy in 'New York Style.' Prepare for a crash course in how to pick up a woman as taught in the sometimes alluring, often times sleazy world of Uncle Roger, the proverbial lounge lizzard.

Dialogue is everything in this film and most of it comes from the incredibly glib and searing tongue of the recently scorned Roger who has yet to learn how to deal with rejection. Roger is the self-proclaimed prophet of the "Gender Wars" and is determined to teach his naive nephew how to cope with the opposite sex. This is as close to a one-man-show as you can get and Campbell Scott pulls it off in amazing fashion.

This is a film that demands your full attention. The dialogue comes fast and furious and you really don't want to miss a thing in this somewhat pessimistic but well contructed production.

Roger (Campbell Scott) is in every scene of "Roger Dodger" and doesn't stop talking for the entire movie. What does he talk about? Who is he talking to?
He talks about Women mostly and he talks to anyone who will listen but in particular his nephew, Nick (Jessie Eisenberg) who has come to NYC to be tutored by his uncle on the broad and fine points of how to pick up women since Nick's Mother (and Roger's sister) has called Roger a "ladies man." Roger spends the evening with Nick and so begins Roger and Nick's journey into "Roger World."
Roger does not talk about love or respect or feelings unless they are to be used as a ruse to get a woman into bed. Roger is neither deep nor caring. Roger is a bitter, smarmy creep. Roger is the blood brother of the Aaron Eckhart character in the film, "In the Company of Men." They both lust after women but hate themselves.
There is a great sequence in "Roger Dodger" involving Roger, Nick (who Roger has snuck into a Bar) and two women: Andrea (Elizabeth Berkley) and Sophie (Jennifer Beals) who Roger has asked to join he and Nick. Andrea and Sophie are smart, sexy, beautiful women who can "see" Roger for what he is and who are in turn fascinated by Nick's naïveté. Berkley and Beals have never looked more beautiful nor been as charming as they are in this scene. The director Dylan Kidd wisely, at this point in the narrative, lets some hot air out of the bag that is Roger with this delightful scene and we feel some relief, if only for a few minutes, from Roger's unrelenting chatter.
Dylan Kidd has taken some major gambles with "Roger Dodger": what if we had merely walked out or tuned off to this film? This very easily could have happened with an anti-hero, buffoon as his lead character. And don't think for a moment that Roger "sees the light" and repents. Not in the least. Campbell Scott makes the most of Roger: watch his eyes, his way of lighting his cigarette and the manner in which he smokes it. This guy is committed to making Roger as repellant yet believable as possible. And he succeeds for by the film's end we appreciate the stellar performance but somehow... do not hate the character.

Quentin Tarantino is the most recent director who taught us the importance of a good opening scene for a movie, through classics such as Reservoir Dogs and Pulp Fiction.

Dylan Kidd appears to be a very capable student, opening his directorial debut, titled Roger Dodger, with a remarkable scene, a dialogue that actually turns into a monologue of our lead character. In that scene, Roger (Campbell Scott), a successful advertiser and probably equally successful womanizer, states why, according to his beliefs, men will become totally unnecessary for women in the very near future.

After such a strong intro, it is a challenge for every director to keep the attention of the viewer at the same level for the rest of the way. Still, Kidd seems to be up to the task, giving us a really absorbing movie. Be warned though: Roger Dodger is a dialogue driven movie. There is not much action here.

The film gets started when Roger's nephew (Jesse Eisenberg) suddenly visits, and asks Roger to tell him about the secrets of love - or, if you prefer, to help him get his first sexual experience. Roger will accept the challenge, promising a "fail safe" method, and a long night will begin. Their ride includes a visit to a bar where two attractive but also willing to talk women (Elizabeth Berkley, Jennifer Beals) are added to their company, an (uninvited) visit to a party by Roger's employer and ex-girlfriend (Isabella Rossellini), who has made perfectly clear that she does not want to socialize with him any more, and a final surprise visit, where the climax of the film is set.

Most of the film's dialogues regard sex and the relations between men and women. Roger's philosophy in advertising is to humiliate people, make them feel bad about themselves, and then offer some kind of product to "cure" their unhappiness. In real life, his philosophy is not much different. At least in the first half. Being totally cynical, he won't hesitate to degrade others not taking into consideration their feelings. In some cases, this tactic will give him an advantage, allowing him to find others unprepared and manipulate their weaknesses. In other cases though, things are not that sunny... On the other hand, his nephew, probably because he is still young and inexperienced in life, expresses views that are much more honest and romantic. This, has Roger, his presumable mentor, waiting on the sidelines, not being able to do much.

Campbell Scott, who plays Roger, is absolutely convincing. He says all his lines without trying too much. He also shows a considerable amount of charm, which makes him likable, even if we know that this in not the correct reaction toward a character like his. From the supporting roles, only Elizabeth Berkley (Saved by the bell if I remember correctly) is not totally up to the rest cast's high standards, having a tendency to goggle her eyes way too often.

Kidd's direction is live, with a penetrating camera that is in constant motion, like the eyes of its main character. That would probably tire a few viewers, but in my humble opinion, fits perfectly with the film's atmosphere.

If we would like to locate weaknesses in Roger Dodger, those have nothing to do with the views of our main character. As a matter of fact, Kidd comments indirectly about them, by giving us a glimpse of Roger's personal life. The problem is that the film is concentrated too much on the dialogue, not giving much of a chance to its characters to develop satisfactorily as complete human beings. And that is the case even for Roger. We get to hear a few things about his family, which, if further analyzed, would probably explain his behavior. Still, all those references are left there hanging. And that's a pity.

In any case, we forgive Roger because he managed to win us from the opening minute!

.... with Roger Dodger is like spending a night with a "player": you feel slimed, angered, bewildered, and entertained, at the same time. By the end of the film, you want to take a shower and crawl into bed to get some rest.

The Roger of the title is a womanizing scumball brainiac whose speech is as highly controlled as his love life is absolutely out of control. This shark loves the ladies, to a fault; by mentally assassinating them before making any kind of move, he ruins his chances continuously. You can see this routine might of work with younger, unsuspecting college girls, but as Roger is aging, the act is failing. Ironically, his nephew shows up to seek advice about the ladies, so Roger spends most of the film poisioning this young lad's mind about the ways of the love world, possibly validating the claim: "Those who can't anymore, teach."

Roger is expertly played by Campbell Scott, a highly undervalued actor in cinema today. He walks the fine line between making Roger just scumbag enough to abhor him, and brings a remarkable vulnerability to him at the right times. Equally compelling is Jennifer Beals as a temporary seductress to nephew Nick, and yes, Elizabeth Berkley shines (it's time we get over Showgirls). The successful script, combined with the great cast, make for a great movie experience.

One problem I have is with the overuse of the "shaky camera", which the filmmakers immediately defend in their commentary and bonus features tracks. When I first saw "Roger Dodger" in the theater, I almost felt, fearing motion sickness with the shaky cam. But soon, I fell into it and didn't notice it as much. At home, the reaction is similiar, but somehow, more jarring. Some scenes are almost unwatchable with the shakiness. I appreciate the reason why they chose that method, but find it to take away from the impact of some scenes. "Shaky cam" is okay, but sometimes, this is "earthquake cam".

Overall, Roger Dodger carries well. As secrets are revealed at the end, and the real truth comes out, it somehow seems right. Kudos for this bravera film, and looking for more from this cinematic team in the future.

Roger Dodger starts out as a dark comedy with witty dialogue and excellent acting, and for the most part, not much changes for the rest of the film. The dialogue stays just as witty, the acting equally as good, (Campbell Scott is tremedous as Roger, a man who thinks he knows everything there is to know about women), and the movie just as enjoable. But the comdey sort of fades away, and we begin to discover just how sad and lonely Roger really is.
The directing is very interesting. Shaky, up-close camera angles make up this entire movie. In fact, the camera almost never zooms out for a 'master shot', and the filmmakers talk about this is the DVD extras.
This movie is really worth seeing for Campbell Scott's performance alone, but beyond that it really is a good rental, and it is recommended.

You are immediately drawn into this from the start with Roger's quirky monologue to his friends at a restaurant about his theories on human evolution - it sounds like anti-social crap but he exudes enough charisma to get away with it, in fact his friends give him a round of applause at the end of these ramblings such is the conviction of his delivery. Is he a total jerk or jaded city guy with a heart of gold? That is pretty much the question that lingers over him the whole time you watch this film.
When his 16 year old virginal nephew arrives on the scene asking for tips on how to pick up girls Roger is given a chance to flex his mysoginistic side which he relishes. Enough said on the story, what I liked about this film was that it is one of the few I have seen where the characters are genuinely believable and respond to situations as you would expect real people to. This is what hold yours attention as there are significantly long periods of meandering dialogue in Roger Dodger between the action and drama that unfolds. Also, the director doesn't impose himself on the characters or scenes, instead he leaves it up to the viewer to soak it all in and draw their own conclusions, this is helped by the way it is filmed, the camera moving around casually, sometimes jerkily as though you are eavesdropping in on Roger's interludes with people. It's a certain stylization which isn't overpowering but works well in tandem with Roger's urgent, manic, sometimes infuriating character.

Young teenager comes to NYC and learns the way of the woman from his rebel advertising exec. uncle. Hasn't this happened to everyone? We're young and awkward around women -- just can't seem to get the words out -- hopeless. But wait, we go to visit colleges and ironically come home with the education that really matters, the one you can't learn in class. It's a cool premise and it plays out nicely. This indie feature is well shot, fast paced, and written like a swiss watch. Well cast and a great story. If only it were real.