Uma Vida Alucinante

Most of the drug-use scenes were fairly realistic. Been there and back myself, so to tell you the truth, nothing I saw in the movie made me wince, although there was a lot to relate to. There's a scene where - this really isn't a spoiler, given the context of the movie - where Jerry dumps some pills out of a prescription bottle, and they look exactly like the kind of pills they're supposed to be. Nice attention to detail. One thing that movies never quite get right or, perhaps like this one, simply choose to ignore, are the details of how one actually turns one's life around from being addicted to recovering, and this movie was no exception. We know in the beginning that Jerry has been through rehab, but that process itself, which may I say ain't exactly a cakewalk - and I mean you have to be clean before you can go through it, remains rather mysterious. Oh well, whatever, an interesting, entertaining movie that held my interest for its running time. Some usage scenes might be a bit upsetting to the non-anointed, although probably nothing quite so hard to take as in Requiem For A Dream.

I think Ben Stiller is one of the most talented comic actors currently working, even though he is often in awful movies (e.g. 'Zoolander', 'The Suburbans'). 'Permanent Midnight' is one of the best movies he has been involved with and features what is arguably his single finest performance. Based on the autobiography of TV hack writer Jerry Stahl, this is a smart, fresh and blackly humorous look at addiction and Hollywood. Stiller has a fine supporting cast here, especially his buddies and frequent co-stars Owen Wilson ('Bottle Rocket') and Janeane Garofolo ('Reality Bites'), the amazingly charismatic star-in-the-making Peter Greene ('Laws Of Gravity'), and comedy veteran Fred Willard ('Best In Show'), who all have small but memorable roles. Hell, even Liz Hurley and Cheryl Ladd are good in this, believe it or not. 'Permanent Midnight' was, like so many other good movies that don't pander to a mass audience, a box office flop, but will hopefully find a larger audience in years to come via video and DVD. I think it is one of the most underrated movies of the last ten years, and highly recommend it.

Ben Stiller was extremely convincing. His portrayal of man who is distracted by his addiction at all times is excellent.

Unfortunately, that's the only redeeming thing about this film (aside from the chance to stare at Elizabeth Hurley, of course.)

I read in an above commentary that the viewer is never shown that Jerry is brilliant. I couldn't agree more. I want to think of him as a tortured genius, but it's tough to do when I'm given no reason to believe that he's anything more than a lowlife junkhead.

One thing I was impressed with was the scene in which Jerry and Redfoot (whatever his name is in this thing) are bouncing off of the windows, several stories above the street. Impressive filmwork, good use of Prodigy, etc.

Disappointing, to say the least.

Although the movie is uneven in both some performances and situations, it's worth watching Ben Stiller powerful characterization of Jerry Stahl. There are scenes very difficult to watch due to extreme use of drugs. It's not for the average audiences. If you like to see good acting this one is for you to watch

First, let me apologize for the easy joke in the one line summary. It was simply too easy to pass up. And sometimes writers fall back on easy cliches, especially in headlines.

Actually, make that especially in headlines and in movies about substance abuse. Simply put, Permanent Midnight fails. And it doesn't fail because of the direction, or the writing, or the performances (thought there are certainly serious flaws with each), but because it doesn't have anything new to the discussion. Permanent Midnight on one hand is about the depths to which drugs can drive a man, but it's also about the superficiality of Hollywood. The problem is that neither angle has anything remotely original in it and so barring something remarkable in the execution, there's really no point in making the movie. Permanent Midnight, though, features many good things, but nothing remarkable enough to justify the "been there/ done that" feeling that remains when the narrative is finished.

Permanent Midnight features a framing story that feels made up. Since I haven't read Jerry Stahl's book of the same name, I cannot speak to the truth of the framing sequences which feature Maria Bello as an ex-drug addict named Kitty. I can only say how painfully convenient it is for recovering Jerry (Ben Stiller) to have this blond angel more than willing to hear his story of degradation. Not a moment between Jerry and Kitty rings true emotionally, but at least it gives writer/director David Veloz and entre into the story, not that the story actually goes anywhere. You see, when Jerry arrives in LA he's already a junkie, living with his friend Nickie (Owen Wilson), who's also already a junkie. He marries a British TV producer so that she can get her green card and she helps him get a television writing job. As shown in the film, there's nothing about his life that leads the the progression of his drug addiction. He just gets deeper and deeper and befriends shadier and shadier characters.

There's an arbitrary point at which he obviously decided to quit (since he's clean in the frame story), but by the time we get there, it seems so obvious and so unsatisfying as to make the journey feel wasted. No matter how bad things seems to get, the audience knows it could always be worse, because we've seen worse drug addictions in a dozen movies of varying qualities. Throughout the flashback, Jerry makes no real attempts at recovery and yet only falls to a certain level. He never makes it to hell. Nothing in the film has a payoff.

Much of the problem, then, is in Veloz's episodic screenplay. Characters wander in and out and nothing really comes together. Jerry seems strung-out, but he never seems horrible, so we can't really pity the people who trust him and love him because he doesn't really do any serious damage to them. Everything just comes and goes.

The film is filled with tiny "star" cameos which meet with only occasional success. Owen Wilson and Janeane Garofalo are always good to have around, as is the perpetually psychotic Peter Greene. Cheryl Ladd, Fred Willard, Andy Dick, and Connie Nielsen, though, provide uninteresting one shot encounters.

Veloz perhaps wisely avoids drug movie hallucination clichés. Aware that he lacks the visual sensibility to rival Fear and Loathing in Las Vegas or Trainspotting, he restricts his flourishes to a single drug nightmare and to boring New Wave-y jump cuts and the like. Veloz clearly sets the film up as Ben Stiller's show.

As Jerry Stahl, Stiller is never less than solid. He makes it clear why people would continue to trust Jerry even with all of his problems. The script, however, gives no indication of the genius that everybody attributed to Stahl, making it difficult to feel that the character is wasting his talent. Stiller, then, is fleetingly amusing, fleetingly harrowing, and always acting. When the character, in a moment of true desperation turns to his neck for an uncollapsed vein, it's Ben Stiller shooting up into his neck, not the character. It's tough to watch, but you feel for an actor on the edge, rather than a character.

So people in Hollywood are so self-absorbed that they don't notice what's going on around them. OK. I've seen that before. And amidst all that egomania, people with problems are allowed to fall through the cracks. And I've seen that before. And recovery is possible? In a one-day-at-a-time way? I've seen that before as well. I kept waiting for Permanent Midnight to offer me something new and different. But it was only more of the same. There's enough good there for a 5/10.