Suffering Man's Charity

There is only one reason to see this film - David BOREANAZ! The plot seems typically reasonable, but writing or directing over the top should not impede a good play or movie. There is no need to act as though everyone is without morals or merit. A well-executed comedy should be able to reach everyone without using one expletive word. Seinfeld's comedy was always outrageous, but within the acceptable guidelines, and this is the kind of comedic writing that many new artists never understand. Without vulgarity or graphic violence, most writers have no idea how to entertain people anymore. David is always wonderful in whatever he does. He has timing, looks, charm, and savoir faire. Cummings, go back to Creative writing class 101 and this time, pay attention.

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.

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!

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.

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.