The Canyons

Predictable, usual nihilistic Bret Easton Ellis script, all they do is show bored and cynical people, usually texting o having sex or taking advantage of someone else, "Hollywood style", of course. Broke bartenders/actors ready to do everything for a role, gay people ready to "help" them, pretty girls faking relationships because they don't wanna be broke anymore, the usual, you know. Pouty-lip James Deen is OK as a proper actor I guess, that role didn't require much effort after all. Lindsay is basically playing herself or possibly the tabloid version of herself, I'm afraid. Don't waste your time, unless you're an Easton Ellis die-hard fan.

The Canyons lays it's cards on the table right from the beginning. The opening scene introduces the main protagonists right off the bat, a curious tactic that immediately signposts the motivations of all the characters.

Tara (Lindsay Lohan) and her rich boyfriend Christian (James Deen) are a couple seemingly living the Hollywood dream. Christian is in the process of cobbling together a low budget slasher movie, using his considerable trust fund in order to break into the film industry. However, the movie's lead, the naive and inexperienced Ryan (Nolan Funk), has a secret that threatens to derail the movie and shatter Tara's relationship with Christian. What follows is a story of suspicion, betrayal and secrets, set in the seedy underbelly of a Los Angeles populated by dream chasers and wanton, predatory selfishness.

The first ten minutes tell the audience immediately that we are dealing with shallow and vacuous individuals, grasping at every opportunity in order to satisfy their self serving natures. This presents the main problems that ultimately ruin any chance that The Canyons might have had of being a compelling drama. In order for a drama to succeed where the majority of the characters are simply dreadful, there has to something to engage the viewer. That could be an interesting script, stylish direction or passionate and sincere performances. The Canyons regrettably has none of these to offer the viewer.

Bret Easton Ellis' script is quite amazingly dull. It really does give the actors very little to work with. The story line contains an unbelievable series of coincidences, the dialogue would embarrass an amateur dramatics class and the characters have no depth to them at all. Lohan tries gamely to prove her acting chops in some scenes, but the dialogue gives her nothing but tired, predictable lines to try and give some life to. It doesn't help matters any further for her that she spends most of the movie opposite James Deen, a porn star who has little or no real acting experience. He starts the movie off reasonably enough, but by the end his acting becomes forced and clichéd. Unfortunately, although Deen isn't primarily a dramatic actor, you can't help but feel that a better director could have coached more out of him. However, even he is streets ahead of the ludicrously named Nolan Funk, who gives a vacant, amateurish and dreadfully stilted performance. That leads me to one of the most significant problems that The Canyons suffers from, that being director Paul Schrader.

Despite his impressive list of past credits, including directing edgy and challenging projects such as Blue Collar and American Gigolo, as well as writing screenplays for most notably Taxi Driver and Raging Bull, it's made abundantly clear from The Canyons why he doesn't make many movies these days. His style is quite simply outdated and his efforts here show that he has done little to keep up with the changes in modern film making that audiences do not unreasonably expect.

The camera-work is creaky and linear, the editing is poor and he overwhelmingly fails to get the best out of an admittedly ragbag collection of actors. You always feel like the crew are in the scene, such are the hackneyed nature of the set ups. For example, many scenes feature an entrance from a character walking into a room with the camera at first at a distance, then either panning across or following them in an unimaginative and linear fashion once it leaves it's previously rigidly static position. Many set ups feel disconcertingly framed, yet they feature hardly anything of interest, lending a stagey, unnatural feel to the proceedings. Strangely, the much talked about sex scenes are so tepid and perfunctory you wonder why they were even bothered with, yet it seems Schrader wanted to elicit some kind of outrageous shock value from them. As they stand, even the actors look rather embarrassed to be in them, even though of course one of them is a porn star.

The talky nature of the dialogue also grates even more than it should as the scenes appear disjointed, either being too long or too short, then simply going on to leave the plot devoid of pace and flow. Locations are curiously bland and the cinematography is completely by the numbers. It all feels very much like the work of someone who didn't have any fresh ideas or flair to assist this very oddly assembled cast who were stuck working with such a tepid script. Everything feels very clichéd and predictable, almost to the point of ridicule.

While Lohan's allegedly erratic behaviour on the set of The Canyons has been well documented, she is actually the only member of this motley crew of a cast to show any real acting ability. There are a handful of scenes that serve as reminders that before her life descended into chaos, she was indeed an real talent with great potential. It would therefore be unfair to blame Lohan and point the finger at her, as many have done, for the critical mauling that The Canyons received. The real blame must go to Ellis and Schrader. I find it remarkable that such an empty screenplay would be made into a movie in the first place and Schrader is a director who is squarely stuck in the past, with his best days as an auteur sadly long behind him.

It's hard to fathom out to what kind of audience The Canyons was aimed at, as it has contains so little in the way of redeeming features. It all amounts to what is frankly an irrelevant and entirely unessential piece of film making that's unquestionably one to avoid. Unfortunately for Lindsay Lohan, this project should have been one for her to avoid as well.

While "The Canyons" is not a total loss, it still doesn't work. As mentioned, it's about this spoiled and mentally unbalanced trust fund baby named Christian (James Deen) who's accustomed to getting his way, and his gold-digging yet not entirely unsympathetic girlfriend, former actress Tara (Lindsay Lohan). They live in a stylish mansion and have sex with each other and sometimes have guests join them. Partly on his father's insistence that he work, Christian produces the occasional film and one of those films stars Ryan (Gerard Funk Nolan), a hunky actor whom Tara was once lovers with and whom she still secretly loves. This unexpectedly makes Christian violently jealous (even he's surprised by his reaction) and sets in motion eventual tragedy. None of the people here are all that likable, not even the seemingly idealistic Ryan, and the low budget shows. The gratuitous sex and violence is reeks of exploitation. Yet the film is watchable at times. The entertainment industry is somewhat captured and some of the dialog is perceptive. The acting is somewhat better than one would expect. James Deen is a porn star, yet he shows he can carry a lead role without sinking a legitimate film. More importantly, Lindsay Lohan gives her best performance in years. She's a greedy user not because she likes to be, but because she believes she has no choice, yet she's still capable of love isn't really out to hurt anyone. I don't recommend this film, but it's not as terrible as it could have been. For all its faults, "The Canyons" has its moments.

The Canyons (2013)

1/2 (out of 4)

Paul Schrader's latest deals with the rich Christian (James Deen) who's living in Los Angeles and seems to have it all until he learns that his girlfriend/sex partner (Lindsay Lohan) is having an affair with a man (Nolan Gerard Funk) who he hired in his latest movie. THE CANYONS is without question the greatest WTF movie in the history of cinema or at least to date. I say this because there was never a single second during this film where I understood what was going on or what director Schrader or screenwriter Bret Easton Ellis were trying to say or do. This film is without question a complete and utter mess and for the life of me I can't understand what the point of it was unless the only goal was to make it as cheap as they could and hope that the Lohan nude scenes would gain enough interest to make some money. Both Schrader and Ellis are so incredibly talented that it would be easy to make fun of this picture but I personally found it rather sad as neither man has found themselves involved with something this bad before and worse of all is the fact that the film makes no sense. It's meant to be some sort of twisted erotic thriller but there isn't a single thrill and the sex scenes aren't nearly as shocking as it appears the filmmakers think they are. Had this been made twenty-years ago then it might have been considered shocking but in today's day and age everything just comes across as pretty lame. Deen is fair in his first non-porn role but he certainly doesn't show enough here to warrant any future movies. The supporting players are all either bland or downright horrid and often times it seems like we're watching line rehearsals instead of an actual take. As for Lohan, well, sadly she once again is pretty bad. She just doesn't have any emotional depth here and even during her nude scenes she just looks incredibly uncomfortable and especially during a shower sequence. I'm sure this nudity is what's going to make most people check this thing out but it's really not worth it. The film also features a bad music score, some forgettable cinematography and worse of all is how deadly boring it is from start to finish. The dialogue is downright laughable and the overall feel is something cheaper and worse than what you'd expect to see on Cinemax at three in the morning. I guess the best thing I can say is that it's actually the best of the three movies Lohan has released in 2013.

Whoo-boy, saw "The Canyons" and I guess to damn it with faint praise is that it isn't the worst movie I have seen this year (congrats still, "Grown Ups 2").

"The Canyons" does have its minor moments of art-directed, abject L.A. decadence and contains a modicum of car-crash curiosity. Lindsay Lohan is OK in it, as is porn star James Deen - although both are characters I'd pretty much cross the street to avoid in real life.

The movie is as nihilistic and dead-at-it's-core as it was designed to be, particularly expected when you have the guys who collectively created American Psycho and Taxi Driver piloting this thing. In fact, if you took Bret Easton Ellis' "Less Than Zero" and spliced it with Paul Schrader's "American Gigolo", you've pretty much got this movie's number.

Schrader's camera captures the vacuum of this glam couple well in the early going setting up Lohan and Deen's hedonistic, vacant relationship - its coolly pointed in its visual observation. Ellis manages to make a few catty points about the movie industry and those who work in it. It doesn't add up to much, though.

Perhaps coked-up "The Canyons" greatest misstep is that it settles to be forgettable mid-grade trash instead of a batsh*t-great guilty pleasure. The movie seems satisfied to recline in low-speed soap-opera theatrics, softcore antics and smug button-pushing instead of putting pedal to the metal and really going gonzo - which both writer and director are prone to do in their own individual projects.

In the end, the film's final act basically torpedoes whatever low-budget goodwill the picture had cobbled together. Both director Schrader and writer Ellis are expert provocateurs and have done - and will do - better than this shoestring experiment. Still, it coulda been worse.