Doom Generation

The Doom Generation is a stunning, gripping, gut-wrenching movie. It's easy to see why reactions are so strongly polarized, with almost everybody either loving it or hating it. It's scary to imagine what kind of mind would react with genuine indifference.

I admit I didn't read all the reviews already posted for it, but in the ones I did read I was surprised to find so few that mentioned how funny and how charming this movie is. Like it or not, it's primarily a romantic comedy, and if you miss that you've missed what holds it all together. It's extremely intelligent, very dark, very sweet, profoundly erotic, and shockingly bloody. But most of all it's very, very funny. If I'd missed the humor, I'd still like the freewheeling sexiness, but I'd be appalled by the violence. But I didn't miss the humor, so I loved it all.

Everything about it is brilliant: the writing, the direction, even the gory special effects, and every single member of the large cast is perfect, especially the three leads. For a "heterosexual" movie, as Araki labeled it (with some irony, I have to think), with plenty of sex between the girl and both guys, the most powerfully erotic scenes are between the two men alone. There's no sex acted out between them at all, not even a kiss, but the heat is intense and stunning, much more powerful than the explicit sex between either of them and the girl. It's the best proof I've ever seen that eroticism and sex are completely different, and in a movie eroticism is much more entertaining. The sex acts in this movie may be all hetero, but the real heat is as gay as it gets. That's quite a coup.

I for one am glad it's not in widescreen on the DVD. If a movie that's filmed widescreen is shown at 4:3, you do lose information. But a lot of independent movies from that period were filmed at 4:3, so that a "widescreen" version just crops off the top and bottom of the picture, and you actually get less information. (The widescreen version of Gus Van Sant's brilliant Elephant is like that, but fortunately that DVD includes both versions.)

Gregg Araki's THE DOOM GENERATION is reminiscent of everything from MY OWN PRIVATE IDAHO to THE RIVER'S EDGE to TRUE ROMANCE to the experimental films of Pasolini, of Warhol (Morrisey), as well as of Richard Kern. The film reveals its thematic message when the most innocent and selfless of its three main characters asks the other, more self-centered, two if they ever think about the meaning of existence. Dismissing the very question, they reveal to the questioner an answer of sorts, one which suggests that we each create a meaning for ourselves, and are all existentially alone as we do so.

While offering us a rather slight story of a pair of teen lovers on the road who encounter a slightly older bisexual who becomes their nemesis, companion, lover and protector, THE DOOM GENERATION offers a great deal of visual style and wit, and some genuine moments of suspense. In fact, the film's gory and discomforting climactic scene is perhaps the artistic highlight and suggests some real filmaking talent by writer/director Gregg Araki. This is probably not everyone's cup of tea, but is worth a look for those who like a film which challenges them to react to strong imagery and who don't mind transgressive depictions.

A quirky comedy (?) that takes a dark turn at the end. I can't quite tell if The Doom Generation is good or bad. Regardless, I quite enjoyed this wonky ride of a movie.

It contains very questionable acting and pacing but this movie is undoubtably entertaining and begging to be endlessly quoted. That dark ending really comes out of nowhere with very little build up. But it showcases that we live in a society, mannnn.

When all is said and done I can't quite say this is a masterpiece but I also can't say I didn't enjoy myself. A cult classic indeed, and one that kinda needs to be seen to be believed.

The Doom Generation is an art film trying to please the audience that its making fun of. It has gratuitous violence and is pretty much a soft core porn. The dialog is poor at best. But these are the things that make it a "good" film. The movie is basically taking to task generation X, I mean there is after all a character named "X" who leads the two other "innocent" characters down the road to hell. The gratuitous violence is suppose to highlight the characters apathy toward fellow human beings. In the string of murders and violence that ensues the only time the 3 of them show remorse or concern is when they hit a dog on the road. They end the dogs suffering and bury it! And Amy says something to the effect of "Life Sucks".Out of all the human death they only show concern for themselves and the effect it will have on them, i.e. getting caught, but they all suffer for the poor dogs death. The sex, voyeurism, partner swapping etc. are just examples of more apathy and general selfishness-if it feels good do it. But your not even sure if it feels good because towards the end when the climax of violence is happening nobody seems overly upset that the sex has taken such a bad turn. Maybe Perry Farrel's earlier cameo is to get you to keep in mind the Jane's addiction lyric "... sex is violence"? Any way I could ramble on maybe I'm so brimming with insight because the first time I saw it I was high and then on finally re-watching it I was truly frightened by how many friends I have fit the film's stereotypes

Gregg Araki's Doom Generation is a satirical look at a generation that has been played out in cookie cutter versions of Gen X films. Don't get me wrong, Doom Generation is a little more "visual" than let's say, "Reality Bites," but then so is "Nowhere." The graphic nature of the violence and language play into Araki's satire and even the subliminal messages throughout the film play into the hands of those who look upon the "Gen-X" films as hip because we all go to a coffee house. Capitalism is evident in these films because of all the product placement, but we are not supposed to give in to this commercialism. Giving into this wasteland of over-marketed products is what Gen-X'ers say that they will not do while wearing their $60 Tommy pants and sipping on a $6.00 latte. Araki does what any brilliant director would do in this situation: make THE DOOM GENERATION.