Picking up the Pieces - Ich habe doch nur meine Frau zerlegt

It's lucky for David Schwimmer that Fran Drescher and Woody Allen were along

for this loony ride, otherwise he would have had to take all the blame. The idea was crazy, the direction spliff-guided and the script lame. But the ACTING!

Woody does his stuttering, furrowed-brow, hands in the air schtick, but this is the umpteenth time and it is no longer just annoying, it's pathetic. Fran Drescher had one day, max two, on the set and treated it as a summer camp romp,

demonstrating ably that some people can build a career and a fortune on a

single act. Unfortunately, that act is on a TV set somewhere a million miles from this movie. But David Schwimmer!!?!! Oy-vey! He has one look (sensitive, troubled), one

tone of voice (ordering pizza on the phone) and no clues. Again, good luck to him for making a pile from being a Friend, but an actor he ain't. Kiefer Sutherland does his best with a stupid role but still doesn't convince as comic actor. Sharon Stone is great, but doesn't have more than a couple of

minutes on screen. But people -- this isn't a movie for watching. It's a movie for lying down, eyes shut, and hoping it will go away.

This film RULES. Woody Allen is great as the psychotic killer who is trying to cover up the murder he committed against his wife(played by Sharon Stone). The religious symbolism and ironic story line put this a step above most films.

Maybe it's just the mood I'm in but after a failed first attempt at viewing this film (lasted about 10 minutes) I just finished seeing the "hole" thing and thought "what a great WA film ala the pre-serious Woody phase that he didn't write! This film was obviously not done with the BIG audience in mind, but out of love for the absurd to a sublime degree. Over the top puns abound in a truly profound way. Like for instance, "You can save your ass, or you can save your soul. But you can't save both. You choose, ass....soul...etc.,etc. I can't believe the many stars in this cast (albeit off-ctr types) did this for the money, so they must have had a blast making it. And c'mon folks, tell me you didn't love to see Kieffer hung up and beaten like a pinata with fireworks going off on his body. I hven't seen cast interviews, so I'm not as informed as some of the commenteers here are, but the overall message (last words of Woody)of this movie is not to be ignored: "f__k em if they can't take a joke". Yeah, the production was cheezy, but it fit so well. The patchwork editing just may have been intentional.... I can easily see how people panned this film. But, no offense intended, maybe you take yourself a bit too seriously.

PS: the quip about Jesus' party getting out of hand _was_ Lenny Bruce's comment as stated by Woody in the film.

Ahhhhhh

This is not mass pop entertainment, but a massive Bunuelian romp by a major director, with lots of name-brand, off-kilter stars. It has its highs and lows, but all-in-all it's an intriguing concoction. Just the feat of getting Woody Allen out of NY and into the desert to play a character named "Tex" is worth seeing. Throw in some great Woody Allen gags ("We Jews didn't intentionally kill Jesus, it was just a party that got out of hand"), a mad trio of investigators from the Vatican (Elliot Gould, Fran Drescher, Andy Dick), and a mayor played by Cheech Marin, and you've a pinata of surprises and fun. It's definitely worth capturing on your TiVo.

The bawdy, crass jokes and lowbrow humor employed in Bill Wilson's script work in his story about a kosher butcher who catches his unfaithful wife in the act and is driven to homicidal maniacal behavior. From the gags involving a permanently frozen hand with its middle finger extended, to the obvious dialog quips, this movie is highly entertaining, with Farrelly/Coen Brothers influences. The impressive cast executes all the silliness with great ease and skill. Woody Allen's characteristically droll performance makes an interesting backdrop against the film's New Mexico locale.

Despite the obvious nature of the story, Director Alfonso Arau's use of visual realism lends to it's contrasting irony. Arau's style is reminiscent of some of Mexico's better comedies celebrating the culture through humorous eyes.