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Choke tells the story of Victor Mancini (Sam Rockwell), a sex addict working in a colonial times reproduction. His mother, Ida (Anjelica Huston), suffers from dementia, and spends most of her time thinking Victor is someone else (mainly long dead lawyers) during his frequent visits to the hospital. To pay the bills, Mancini has a bit of a unique talent: he chokes on food in swanky restaurants, and practically forces innocent bystanders into saving him from death.

I read the book Choke a few years ago, thinking it would be same in vain to writer Chuck Palahniuk's near flawless Fight Club (and of course, David Fincher's incredible film). But Choke was nothing like it, and anyone going to see the film thinking it will be is in for a disappointment.

But like Fight Club before it, Choke is adapted quite well from its raunchy source material. The story is quite liberally changed in some instances, but in others, it is an almost literal recreation. Mancini is a well-rounded character, with bizarrely comic traits that are pure Palahniuk. I found myself almost crying from laughing so hard at the comic mishappenings he got himself into, frequently calling back to the events in the book. It was strange however that so little an amount of time is spent on the choking that Mancini has down practically to an art form, but then its off-the-rails, frank portrayal of sex was always much stronger. First-time director Clark Gregg does an excellent job making this character so true to Palahniuk's work that you can forgive him for glossing off something so integral to the plot (but at least it makes for a whole lot less convoluted, confusing and downright silly third act). Gregg's addition of the little idiosyncrasies of Mancini's lifestyle (small cuts to previous sexual encounters, frequent breast-filled day dreams) only further strengthens how close the film cuts to its source material.

But despite being 92 minutes long, I think Gregg could have done with a touch more editing. The film is not lengthy at all (many sequences practically zip by in the hyper-kinetic sense of Fight Club before it), but the film feels quite long in some instances. Despite their importance to the story, the flashback sequences involving a much younger looking Huston and young Victor (playing by Jonah Bobo) drag on endlessly, nearly losing their train of thought mid-scene. Some of the scenes between Mancini and Ida's doctor, Paige Marshall (Kelly Macdonald), also have a habit of dragging their heels. Some cuts here and there in these scenes could have only benefited the film. As well, Gregg's doing away with the third act leaves some subplots hanging in the balance, never to fully integrate themselves with the film as a whole. Non-readers may not even notice some of them (including one glaring omission), but it may strike those who have read it as quite odd.

The supporting cast is pretty well rounded. Macdonald does a great job in her scenes, as do Bijou Phillips in a small role as one of Mancini's co-workers, and Gregg himself as the lead character in the colonial times reproduction. I had failed to realize it was him when watching the film, but he brings a special greatness to every one of his character's lines.

I was a little disappointed however in Brad William Henke's portrayal of Mancini's friend Denny however. Not because Henke does a bad job in the role, but because he does not get nearly enough time on screen. He steals many of his scenes, and seems to know just how to frame Denny, frequently shifting from the downtrodden weakling of a sidekick, to the strong willed individual Mancini wishes he could be. Henke is having fun in the goofy role, and it is obvious that he is very comfortable doing it. He does not have a whole lot of credits on his filmography, but I can only help this role makes him a lot more accessible in Hollywood. More scenes could have only reinforced the notion.

Huston, looking much older than usual for the majority of the film, is excellent in her portrayal of Ida. She does not look to be doing much, but the emotions she conveys simply through her facial movements and expressions is enough to suggest that she is doing more than simply phoning in her performance. The role may not seem too tough, but she pulls it off without breaking a sweat. Despite disliking the flashback scenes, they only further developed her character into the closet psycho she is so great at playing.

But the movie rests on Rockwell's shoulders, and he is clearly up to the task. The breath of life he gives Victor Mancini is almost poetic in how personal it looks and sounds. No, he does not give the same energy that Brad Pitt does as Tyler Durdan, but this does not seem to bother Rockwell in the least. He plays Mancini just the way he needs to in order to make him a believable regular guy, suffering from addiction problems and his need to please his overbearing mother even as she is slowly withering away. You can see the pain in his face right from minute one, and never once does he let us take this idealism for granted. He uses it and characterizes Mancini with a great breadth of thought not regularly seen in contemporary American cinema.

While it is not perfect at all, Choke is a wonderfully valiant attempt at recapturing the nearly demented nature of a Palahniuk book. His unique voice is captured quite fluidly within the film, and writer/director Gregg can be quite proud of his work here. With the help of a great supporting cast, Rockwell practically lights up the screen in a way that only further proves his greatness as an actor.

7/10.

It took almost a decade for a second movie to come out from the literary source that is Chuck Palahniuk. David Fincher owned Fight Club, making it a cinematic wonder, enhancing the novel and becoming a wonderful companion to it. Rumors swirled afterwards about all his other stories being optioned for film translation, but after 9-11 halted Survivor's chances and Invisible Monsters' progress ended, it didn't seem good. But here comes 2008, with an unlikely savior in Clark Gregg, and all of a sudden we have Choke in cinematic glory to bring the author back into the spotlight. I love his books and all of them have a pop culture, post-modern feel showing sensibilities that can succeed on the big screen. Is Gregg the optimum choice to help the cause? Possibly not, but this is a very narrative driven story without the flash and flair of other novels, so his inexperience helming a film isn't overtly noticeable. While it is not as good as the book—how many actually are—this film keeps the tone and essence intact, bringing to life the words on the page. It's subtle and subversive and kept me entertained throughout.

Gregg has been in Hollywood for a while now, a familiar face to David Mamet fans, and for all you kiddies, an actor in Ironman. The role he gives himself here is a good one, the stickler boss of the colonial theme park that our leads are employed at. It's a thankless role and definitely the straightman of the ensemble; however, it is his directing that is really put on display. He doesn't try to go beyond his limits and I commend him for it. Single-handedly saving the world from possibly going Palahniuk adaptation-less forever, I have nothing but praise for the man. There are some camera tricks utilized, most obviously the quick cuts between our lead Victor Mancini's sex-addicted visions of every woman being naked to their fully clothed reality, but it's more or less a strict, linear narrative. I do have to mention the final shot, which carries on as the credits play, a long take of two leads making out. In extreme close-up, the highly personal nature of what is displayed leaves you somewhat uncomfortable due to the length, but also happy at the idea of these two partaking in the action. It's the boldest stroke Gregg makes and, being the last thing we see, the strongest most memorable moment for me.

It's all a comedy from start to finish, but one laced in good writing and subtlety. There are no real laugh-out-loud moments, except perhaps the revelation of a man being blind, just a consistent journey of sarcasm, heartfelt humor, and genuine witty banter. Victor, played perfectly by Sam Rockwell, really breathing life into the character as I envisioned him when reading the book, is a man that goes to restaurants and deliberately chokes so that some unsuspecting Good Samaritan can save him. These people now have a bond with him, feeling responsible for his life and in effect send him gifts and money whenever asked or on the anniversary of their fateful encounter. As one eyewitness's account says, her son was about to be divorced until his sense of bravery at saving Victor made his wife fall in love all over again. This kind of thing is a common trend with our lead; his uncanny ability to be devious and evil yet always have the outcome end up being generous and profound to those he is wronging. No wonder the guy becomes glued to the possibility he may be the second coming of Christ—believe me, it's actually a plot thread, and one that holds the film together.

Rockwell's manic overabundance of life becomes a whirlwind, sleeping with random women at every turn, hanging out with his masturbation-obsessed best friend (Brad William Henke who hopefully will start getting more work after this), angering his boss by using 20th century objects in a colonial environment, and visiting his mother, who is suffering from dementia, that believes he is her old deceased lawyers. Only Palahniuk's warped mind could come up with this stuff, let alone tie it all together into a coherent plot that is interesting to follow through to its conclusion. A burgeoning relationship with a young nurse at the home, (Kelly Macdonald trying to hide her Scottish accent for who knows what reason), adds some conflict and space for Victor to finally seek help for himself and begin step four of the sex-addict program. Having a lifetime of pain brought on by the one person he loved, Anjelica Huston as his mother, keeps him closed off to the world, making it strange for him when he finally finds someone he can open himself to.

There is so much going on, it'd be tough to talk about without either ruining the story or ruining the joke's setup. Choke is definitely not for everyone, the humor is probably too risqué for some and the subject matter too eccentric and modern for others. Palahniuk, who has a nice background cameo at the end, uses thinly veiled satire to bring us into his surreal interpretations of reality and be able to find ourselves living there. It is definitely one of his smallest scale novels, as far as craziness goes, but also one of his most accessible. For that reason, and because Gregg deftly adapted it with a respect to the source material, we have a resounding success. Hopefully allowing us to be brought back into his world of miscreants and fiends with a piece such as this will mean the more out-there stories will finally find their way to Hollywood. Scratch that. How about to a nice indie company that will do it right?

This movie left me in a strangely ambivalent state after I watched it, because I'm not sure if I'm judging it on its actual merits, or my expectations. Having been a fan of Chuck Palahniuk's novel, I was expecting something brash, frenetic and perfectly offensive, but in a good way. The problem is that while the novel was blunt and vulgar, spelling out every bit of Victor Mancini's sexual exploits in almost academic detail, the movie stops a bit short of pushing the edge and instead leaves a lot of it up to suggestion.

Another reason that I'm not sure how I felt about it is because the director took a unique approach to the work that I'm still trying to decide if I liked or not. You see, Chuck Palahniuk's novels have a very distinctive narrative style to them, and in Fight Club (also based on one of Chuck's books,) director David Fincher emulated it perfectly. I'm talking mostly about Chuck's usage of repetition with lines such as "I am Jack's colon," Choke's director, Clark Gregg chose not to emulate this and instead brought the text of the book to life without mimicking it's distinctive narrative. So if you're a fan of Chuck's work, this may bother you. On the other hand, it does help Choke stand out on its own merits and not feel like it's trying to build off of the success of Fight Club.

So for those of you who haven't read the book, how does it stand? Well as I said before, considering how much more graphic and indecent this movie's source material was, I think the movie missed out on a lot of its potential. I almost feel like Clark Gregg went too easy on all of the characters making them come off as sympathetic when they worked better as being completely hopeless. It's also not as funny as it could have been, since a lot of Victor's (the protagonist's) interactions with everybody from the sex addicts, to the people in the historic reenactment village to the people he pretends to choke for, were all summarized too much, and had much more potential for comedy. Overall i'd say this movie is alright, but could have been done better.

This is actually a review from someone who read the novel before watching, and since I'm sure anyone interested in this movie have had watched or read Choke novel or Fight Club, I won't make a synopsis of the film.

I'm going to start with the cons: I gave this movie a 7 out of 10 mainly because of its cinematography; there was zero creativity involved in it. From start to finish, you never get to see and let alone appreciate the surroundings in which the characters are. With this lack of creativeness, it seemed like the environment from every scene was a cheap set and not actual places. There's no introduction to the city in which Victor (the protagonist) lives, his work, the "mental facility", etc.

This leaves the movie with full of dullness and no life to it, switching from one scene to the next with just the actors interacting with one another with no pleasant detail to it. Some scenes could have been better OR longer (for example; the first choke scene in the restaurant), although nice, it seemed pretty rushed. And talking about longer scenes comes my third con: its length. This movie is almost 1hr and half and I'm sure if they made it at least 2hrs long it could have been better, but that's just my opinion.

The jokes are pretty faithful to the novel and most of them will at least manage to get a chuckle out of you. The protagonist sometimes narrate some scenes a la Fight Club which is a nice touch. The acting is very good and Sam Rockwell perfectly portrayed Victor Mancini as the reckless sex addict. Brad William Henke (Denny) seemed out of place in this movie, since his true character should have been skinny instead of tall and bulked. Same thing with Victor's mom Ida Mancini (Anjelica Huston) which they portrayed her kind of healthy instead of a sick, skinny woman.

Finally, the movie is very good and entertaining with its dark humor, but it seriously lack in the cinematography and length department.

Few authors have as instantly distinctive a style as Chuck Palahniuk: simply look for the most convoluted, scathingly hilarious, disturbingly filthy and twisted narratives which somehow prove revelatory of strikingly genuine nuggets of human nature, usually the ones we would rather keep hidden. Perhaps for this reason, with the exception of his enormous cult hit Fight Club, Palahniuk's work has seldom been adapted for the big screen, with movie executives likely preferring to work with plots which they can be sure their viewers will understand, and not result in heart attacks from either repulsion or outrage. As such, writer/director Clark Gregg's adaptation of Palahniuk's Choke is a daring move - after all, how often does one see the tale of a sardonic sex-addict playing on the sympathies of those who save him from choking to death in restaurants to pay for his mother's hospital bills gracing the marquees? And yet, as surprising as it may seem, for all of the caustically humorous overtones, at the heart of Choke lies a surprisingly tender and fascinatingly complex character study, brimming with humanity and pathos... and yes, loads of gratuitous sex on the side.

Those expecting more along the lines of Fight Club's nihilistic social commentary and brutal violence may find themselves disappointed, as Choke's sordid portrait of a man so used to mindlessly numbing his pain coming to terms with his flaws and potential for good almost by accident proves a far more sympathetic look, albeit one with graphic and perverse sexual content. That being said, writer/director Gregg's screenplay is a razor sharp medley of slashing Palahniuk wit and biting one-liners as well as surprisingly poignant character revelations, blending an increasingly eclectic myriad of events into an impressively concise (the film runs only 89 minutes) yet still cohesive storyline. If a flaw is to be found, it lies in the film's ending, which flirts which but mercifully avoids succumbing to convention and provides what may be one plot twist too many, making the finale somewhat unnecessarily cluttered (and yet strangely fitting) but in such an impressively unique work, such minute concerns are easily forgiven.

One of the film's many blessings is the casting of the supremely talented Sam Rockwell as Victor Mancini, the sort of lead role he is far too often deprived of. It is a testament to Rockwell's immense skill and charisma that he manages not only to sympathize a character who ultimately sets out to make himself dislikeable but also evokes both hilarity and pathos in the least likely places, delivering one of the most remarkable performances in recent memory. Similarly, Angelica Huston is incendiary as Mancini's mother (in flashbacks shown to be an even less stable parent before her dementia) and her interactions with her son prove surprisingly poignant and emotionally wrenching. The tremendously likable Brad William Henke raises many a laugh as Mancini's similarly sex-addicted best friend, and Kelly Macdonald gives a quirky but charming performance as the doctor who may, despite Mancini's best efforts, end up being a love interest. Director Gregg has a hilarious supporting role as the earnest head of Victor's collonial historical interpreter site, and Jonah Bobo proves a rising talent to watch as Victor's childhood self.

Darkly hilarious, sublimely subversive and yet hiding surprising pathos and heart, Choke proves one of the most offbeat films of the year, and is all the more entertaining for it. While the film is without question not for everyone, those willing to stomach the acerbic and often disturbing humour and hefty sexual content may discover one of the most darkly enjoyable movie experiences of quite some time.

-9/10