The Nines

I will begin with the admission that this is not a boring film. It succeeds in holding one's interest, as it might be one of the very least predictable movies I can recall. Essentially, without giving anything away, although you won't be missing much, it's divided into three vignettes. The first one acquaints us with a distressed Hollywood actor, Gary, under house arrest living in another person's house because he burned down his own. While confined, he is taken care of by both a chubby P.R. 'handler' and the sexy single mom next door, who may or may not be interested in him sexually. Over this time, Gary becomes convinced that he is being haunted by the number nine.

Then comes the next segment while we are reeling with curiosity. It follows a gay television writer, Gavin, played by Ryan Reynolds, who played Gary before, trying to get his pilot made. We raise an eyebrow when we find that the house he lives in is the house Gary later stays in. Hm. At some stage in the course of post-production, a television executive pushes for Gavin to ditch the unconventional (chubby) lead actress of his project, played by the same actress who played the PR rep before.

And then in the third act, a video game designer, again Ryan Reynolds and again a name beginning with "Ga," is lost when his car breaks down, a situation shown in Gavin's pilot. He leaves his wife and daughter with the stranded vehicle and meets a mysterious woman. By the time this act reaches its revelation, the wide-eyed look of curiosity on your face becomes an empty expression, a time void for your muscles, as the big surprise that binds these bizarre fragments and concludes. You will have been led on a wild goose chase and once you catch the goose, the filmmaker, John August, has been pandering to his own wishful fantasies of spiritual grandeur, under the oh-so-impressive guise of a film that explores the concept of simulated reality.

In any case, the film has no atmosphere, the cast surrounding Reynolds has no charisma in spite of decent deliveries, and when it's over, one only wants to forget about it. The only props I give are for its aforementioned success with its lack of probable expectations, even if it's all for the least satisfying pay-off. Imagine Sharon Stone flirting with you, playing footsie, offering you a ride home, putting her hand on your lap, then going to her place and finding that she enticed you there only to show off her collection of china patterns. On a smaller scale, that is what you will experience if you see The Nines.

This movies suffers from one major flaw, it goes from being a really good movie to a really bad movie and back again. During the times when this movie was good was when it wasn't trying too hard to explain things. However when the explanations come, the movie becomes a exercise in patronization. Apart from these flaws and a musical number during the first act in the film, this film is pretty good. Sometimes I think these type of movies are made for the purpose of making people feel more intellectual than they really are. Nonlinear mysterious stories such as this one deserve more than what this movie has to offer. This movie had so much potential and in the end I'm left wondering what might of been.

Normally, I don't like gimmicky movies. All right, I'll admit that I enjoyed "The Third Man", "Vertigo", "Psycho", "The Usual Suspects", "The Sixth Sense" and "Memento". But usually when I see something like "Persona", "Miller's Crossing", "Jacob's Ladder", "Mulholland Drive", "Lady in the Water", or "The Prestige", I want to throw something at the screen because I feel the writers and directors of these movies are either insulting my intelligence, or displaying a lack thereof on their part. "The Nines" is that refreshing sort of gimmick-film that shows intelligence on the filmmaker's part, but doesn't insult the viewers'.

The film is divided into 3 distinct chapters, each starring Ryan Reynolds as the protagonist, Melissa McCarthy as someone who clings to Reynolds, and Hope Davis as someone who is trying to pull Reynolds away from McCarthy using the phrase "Look for the Nines." And each chapter ends ironically in a way that partially reveals what the catch-phrase means and connects the chapter to the other two.

In chapter one, Reynolds plays Gary, an actor under house arrest for buying crack. Since he doesn't have his own place, he is assigned to live with his hyper-perky publicist Margaret (McCarthy) in a house belonging to a TV producer, currently in New York shopping his new show. Gary and Margaret eventually develop a flirty relationship, even though "flirting" tends to involve viciously insulting each other. Eventually, the idyll ends when next-door-neighbor Sarah (Davis) takes an interest in Gary, and tells him that since he is a nine out of ten on the attractiveness scale, he should dump the overweight Margaret and "look for the nines".

In chapter two, Reynolds plays Gavin, the TV producer who owns the house where Gary is confined in chapter one. He is in New York shopping a new supernatural series starring Melissa McCarthy (playing herself in this chapter) as a mother who is left sitting in a car with her creepy mute daughter (Elle Fanning) while her husband looks for help. Test audiences love the show, but want him to replace the overweight McCarthy with someone more conventionally attractive. Gavin resists because of his feelings of loyalty towards McCarthy, and eventually network exec Susan (Davis) steps in, and tell him he needs to see how the test audience voted from one to ten and "look for the nines" and see what they have to say about the show.

The third chapter is the drama that Gavin was producing in chapter two. Reynolds is Gabriel, a software designer out for a drive in the woods, when his car runs out of gas. He leaves his wife Mary (McCarthy) to care for their creepy mute daughter Noelle (Fanning), while he looks for help. Eventually he runs into Sierra (Davis) who leads him on a wild goose chase before finally telling him what the phrase "Look for the Nines" really means, and why he has to abandon his family.

I like that each chapter has its own genre. Chapter 1 is a musical romantic comedy shot conventionally on film, with lots of close-ups. Chapter 2 is a pseudo-reality-show shot on shaky-cam DV that never gets particularly close to the actors. And Chapter 3 is a thriller with cinematography that splits the difference between the first two chapters: It's shot on DV; and when the characters run, the camera shakes; but in the still moments, the camera is still; and there are plenty of close-ups of people's faces.

I also like that when the secret of "The Nines" is revealed, it doesn't feel forced or like writer-director John August has pulled a fast one on us. And I thought it was cool that the female lead went to someone who doesn't fit the conventional body type of a Hollywood actress.

The only complaint I have about this movie is that the acting, directing and camera-work were merely adequate. Only the writing was truly exceptional. But good writing can absolve a multitude of sins far worse than what this film is guilty of. 8 out of 10.

I will not spoil the movie for anyone. I watched this film last night. This is a film that is worth renting and watching. It has a Donnie Darko flavor to it and is very interesting. The script is solid and very intelligent, as well as the acting. There are three different movies all linking up into one movie about creation in my opinion. All three films contain the same characters, it is just that the roles interchange and do not make sense until the end of the movie. The film begins as almost a comedy and turns into a thriller so just be aware of this and do not get turned off too early. I give this a 7 (as opposed to 9) for a truly unique film with a solid cast. This one is worth renting.

The Nines tells three short stories, the first of about an actor who is under house arrest after flipping over his car, the second is about a writer who's pilot TV show is in jeopardy and the last deals with a video game designer lost in the woods after his car breaks down. All three stories are told with the same actors.

When I first heard about The Nines, everyone was raving about how original it was and how it was like nothing they have ever seen before. So obviously it peeked my interest. After finally watching the film, I can see where it gets it's praise, but don't fully understand why it's getting so much of it. Yes, The Nines is original and keeps you guessing until the very end, but the pay off isn't as good as the rest of the film.

This is John August's directorial debut, if you don't know who August is, he's the writer of such films like Big Fish, Corpse Bride and Go. The Nines is another impressive entry to his already good resume. It seems that August was confident enough to tackle this big project. I applaud him ambitions. He didn't fail by any means, but he didn't blow me away either. It is always a love hate relationship when the writer is the director. When it works, you get Pulp Fiction, when it doesn't you get Blade Trinity. When the writer is the director, he knows exactly what he wants, he knows the characters inside out and how to bring everything together. The Nines doesn't seem to fall into either category, it seems to sit on the fence.

Ryan Reynolds proves again that he has more range then people give him credit for. He might have painted himself into a corner with Van Wilder and Waiting, but he seems to be slowly breaking free of it. He showed range at the very end of Smoking Aces and in the recent rom com Definitely Maybe. With The Nines he again proves why he is underestimated and will bring greater things in the future. Reynolds plays the lead in all three shorts. We see him as a crack addicted actor, gay writer and family man video game designer. While he doesn't blow you away with his performance, he does manage to capture you and bring you along for the ride from start to finish.

Hope Davis appears here in a supporting role, again playing three different characters in all three shorts. She manages to get so much across the screen by doing so little. A look here or move there and you know exactly what she is thinking. Melissa McCarthy plays herself in one segment, I think she had the hardest job. She has to be bubbly, scared, mean and informative.

The three segments are all shot differently. The first segment, titled The Prisoner, showcases bright reds and yellows and was shot on 16mm. The second segment, titles reality television is shot on video. The entire segment plays out like a reality TV show as we follow Gavin (reynolds) and his troubles in trying to get his pilot on air. The third and final segment, titled Knowing, is darker and shot on 35mm. The third segment has the same title as the pilot that Gavin in the second segment is writing. Even the same events take place. Without giving too much away, all three segment interconnect with each other. But not exactly in a way you want or think.

If you are confused after watching the film, join the club. I knew what happened and sort of got some things, but had to read up on it to see what others thought to finally connect the dots. The films does a very good job of teasing the viewer with bits of information and bringing them along asking questions left right and centre. As the film concludes you sit there wondering if you are satisfied or not. I still do not know really. I like the idea behind the film and the presentation was nice, but the way they dragged us along seemed like it would amount to something bigger, something deeper, something more then what we are ultimately given.

The film doesn't answer everything and it doesn't need to. It's a film that leaves it's answers up to the viewer, to make whatever assumptions they want. But even this isn't satisfying enough. I guess because all the hype I head prior, I expected more. If you go into it not knowing anything about it, you will be pleasantly surprised.