Rules of Attraction (2002)
Bret Easton Ellis is a dour and
cynical bastard, at least from what I can gather from
the film adaptations of his books. "The Rules of Attraction"
is no exception and watching the film reminded me
of why I love Douglas Coupland so much. These characters
might have fallen out of a Coupland novel with one
exception. In a Couplnadesque world there would be
a shred of hope and optimism. That one little moment
that allows you to have faith. There is no such moment
here.
It's obvious from the beginning
of the film that we are in for a typically sophomoric
cynical and dark film. The backwards motion of the
film's introduction sequence is prototypical and over-used.
It goes on forever. Even more noticeable is director
Roger Avary's delight at having fluids, like vomit,
run backwards through the projector into the mouths
of his characters. It's vile and stupid. It's no wonder
scripter Avary is rarely allowed behind the camera.
If there is anything to like in
the film it is James ("Spacebar") Van Der Beek's performance.
Van Der Beek plays against type and turns in a harsh
and unapologetic performance that elevates the film
above the dregs it so delights in wallowing in. Farless
successful is Shannyn Sossamon as the predominant
female in the piece and Ian Somerhalder as a whimpering,
simpering homosexual. He's really a delight. (Editor's
note: This is sarcasm). How could this delightful,
sunny, pretty, happy homo be single? Sheesh.
Avary is really a lousy writer,
so the script here just doesn't work. No one has any
motivation for anything that they do. These are vapid
and unhappy people and we get to watch them wallowing
in shit for two hours. Lucky us. Plus the film has
no focus with the narrative slipping between the three
main characters, who rarely interact, and confusing
the bejeezus out of us.
A typical and glaring example of
this film's shittiness masquerading as hip and cool
and new school is the extended divergence into a trip
to Europe that bulldozes through the latter third
of the film. What the fuck does any of this have to
do with anything.? It's pointless. And, really, there's
not one human moment in this film, not one example
of character exposition. Instead of concentrating
on his main characters, Avary lolls over to Europe
for a footnote. It's pretentious and stupid. Avary
tries to be cool and crass and, at 37 years old, he
seems neither. He does accomplish one cool split-screen
effect, but that's all that seems worthy stylistically
in this film.
Well, that and the ending. Not the
epilogue, mind you, but the last second of this film.
The last second is cool. And then the credits run
in reverse. That's semi-cool too. But this just isn't
enough to make the film worthwhile.
College kids and trendy types may
enjoy "The Rules of Attraction" for its utter despair.
Me, I like a little sunshine along with the rain sometimes.
Even the most depressing band in the world, The Cure,
who have a song utilized early in the film here, are
happier than this pretentious, dismal, gloomy muck.
The Cure, like Coupland, like myself, understand that
without a shred of hope, there is simply no reason
to exist. This film has utterly no reason to exist.
Note:
Also with Kip Pardue, Jessica Biel,
Thomas Ian Nicholas, Kate Bosworth, Russell Sams,
Fred Savage, Eric Stoltz, Swoosie Kurtz, Faye Dunaway,
and Paul Williams.
Music by Tomandandy.
The character played by Van Der
Beek is supposedly the younger brother of Ellis' "American
Psycho" protagonist. In an eliminated scene, the
two talk on the phone. (No deleted scenes were included
in the regular menus of the DVD release).
One of the films referenced by the
film student in dialogue at the start of the film
is "Killing Zoe," also by Avary. Stoltz, who has what
amounts to a cameo here, was the star of that film.
Many scenes were cut to receive
an "R" rating in the U.S.
One trailer for the film emulates
the trailer for Kubrick's "A Clockwork Orange."
To be followed by a sequel called
"Glamorama" in 2004.
This film was nominated for a GLAAD
award, which makes me question the abilities of that
organization to decide for "me" what is worthy in
gay media and culture.
Viewed on DVD in March 2003.
