Escritor Fantasma

Someone, please call me a psychiatrist! I loved this movie, and haven't laughed this much in a long time! It's like a car accident on the highway; you don't want to look, but you just can't help yourself!Think Rocky Horror Picture Show meets Misery.

Alan Cummings is SO over the top, it's hysterical. You kind of WANT to feel sorry for him at the beginning, but there is just nothing truly redeeming about his character. I loved the way he got his comeuppance in the end.

David Boreanaz is good throughout, but particularly in the latter part of the movie, which he seems to embrace with unabashed glee.

If you like camp and bizarre humor, this is a movie you should definitely check out!

Alan Cumming was great as the Emcee in Broadway's CABARET but here he whores himself out as actor AND director in an over-done, over-acted, nearly unwatchable thriller about an over-sexed writer (David Boreanaz) and a prissy music teacher (Cumming). As co-producer Cumming also calls in markers from the likes of Carrie Fisher, Jane Lynch, Anne Heche, Henry Thomas and Karen Black for cameos so short they couldn't possibly know the completed film would be so in-your-face awful. Black is especially cringe-worthy as a drunken whore. If you get off on seeing Boreanaz in skimpy ladies underwear, tied up with Christmas lights, this film might be worth a fast-forward; otherwise exorcise this GHOST.

Before watching this film I thought it could go one of two ways, either be genius or be awful. It did neither and both.

The plot was thin and not particularly rewarding, the character David Boreanaz played was weak and his acting was, as to be expected, fairly mediocre.

So why have I given it 8 out of 10? Alan Cummings' performance was pure magic. In the previous review this was a criticism which surprises me. The reviewer is correct, it is dramatic, overblown and extremely theatrical, and as previously said, he isn't and is not meant to be a likable character but that doesn't make him any less of an interesting character to watch. You're given the sense that as the character becomes more and more dramatic and over-the-top, he couldn't stop himself if he tried or wanted to.

The entire performance is an interesting portrayal of passion, rejection and obsession that in my opinion makes up for the weakness of the plot and surrounding characters. More theatrical than big screen but a fantastic performance by Alan Cummings regardless.

This film needed some combination of the following : a separate director that was NOT starring in the film, sympathetic characters, multi-dimensional characters, less overacting, a bigger budget, more people involved in the creation, and/or FILM source with good image quality. Any of the listed items could be overcome in different circumstances, but here they are all piled on.

I appreciate that the main character was meant to be someone who acts out his own life in overblown, dramatic excess. I appreciate that this character is intentionally not a likable person. Such things are valid and interesting choices to try, but they are challenges that require a LOT of feedback and careful planning to make a film that works. That seemed absent.

Instead, what we have here is a piece which leaves the impression that the actor (and director), Alan Cumming, does not know how to tone it down.

We only see one side of each character, and none seem to progress or change in any meaningful way. And no, changing address or circumstance does not count -- the characters never seem to learn anything.

All the audience gets is nasty people who never get better as they do things we can not care much about, and doing them in a somewhat absurdist way. Yes, there are some amusing scenarios, but all the negatives overwhelm occasional positives.

This movie is pure grand guignol with obvious references to "Whatever Happened to Baby Jane" and "Sunset Boulevard." If you enjoy shrill, histrionic, over the top, morbid, nasty, vicious humor you'll love Alan Cumming's directorial debut.

Purely on the technical merits, this film would deserve no more than 7 out of ten stars, maybe even a mere 4, but it has the madness, the idiosyncratic verve to become a camp cult classic. Cumming's performance is a bit of PeeWee Herman as Norma Desmond, but when you think he's pulled out all the stops, Karen Black takes it to the next level, and then.... well, it just gets madder and madder.

While it is clearly not for everyone, "Suffering Man's Charity" is an absolute treat for the right -- or perhaps a very wrong -- mindset.