Entre amis & voisins

This is basically the filmed dissatisfaction of upper-class yuppie life. These are people who have everything but seem to live in a swamp of self loathing and hateful arrogance and selfishness. Their tart, affective interplay is like watching a game of mumbletypeg, but with words. These are the kind of people you would not want to live next door to, but these are the people who usually seem to win in our society, sad as that is to ponder.

Jason Patric plays the single most evil person in movie history. His 'shower scene' is sick, twisted, but oddly humorous. You hate yourself for laughing, which is the point. In that way you understand how these people are born. They are us.

This is arrogant mall culture, the kind of American decadence the Soviets warned us about. At least they were right about that.

The film is about how creeps become dissatisfied at their own creepiness. Great dialog, the ending makes complete, yet sad, sense. Our world is mad, and we need to change it, before it eats us whole.

"Your Friends and Neighbors" (1998) is the second film by director/writer Neil LaBute and it tells the story of three couples and their complicated friendships and relationships. I've seen it more than once during the last couple of days - and I found it incredibly clever written, well acted (especially by Jason Patric and Catherine Keener - their only scene together was the second best in the movie - so dynamic and tight) and skillfully directed. LaBute certainly has a very unique sense of humor and he knows well the history of cinema. To give all characters the names that rhyme - Mary, Barry, Terri, Cheri, Cary and Jerry - was a clever idea - the characters are interchangeable in their relationships and it does not matter really, who is with whom - Mary with Barry or with Cary or Jerry or Barry with Barry, and Cheri with Terri or Jerry? The important thing is that they are selfish and often unpleasant and despicable people who are not happy with themselves and can't make happy their spouses or partners. Another interesting trick - the repeating scene in the Art gallery that starts with exactly the same words for each character but leads to different developments. I mentioned that LaBute knows his movies. Have you noticed the poster from Goddard's Le Mépris, (1963) aka "Contempt" with Brigitte Bardot? "Contempt" features one of the most fascinating and longest scenes of a breakup ever filmed. The breakup scene between Terri (Catherine Keener) and Jerry (Ben Stiller) started like in "Contempt" but it only lasted a few minutes and it was a good scene. Actually, I loved all scenes with Catherine Keener and if I have to choose one character that I liked, it would be Terry. Seems that Charlie Kaufman might have seen LaBute's movie because Terry and Maxine from "Being John Malkovich" have a lot in common. I was actually waiting for Terry to say to Jerry, "The thing is if you ever get me, you would not know what to do with me".

Jason Patric was a revelation - I don't know him very well but I remember that he gave a very good performance in "Narc". As for the scene in a steam room, it is not just the best of the film; it is one of the best scenes - monologues ever. I know not many would agree with me but the scene is as powerful, unforgettable and strangely erotic as the monologue in Bergman's "Persona". LaBute's writing, his camera, and mesmerizing performance by Patric made this scene an instant classic.

The film is not perfect and sometimes it drags but overall I found it interesting and enjoyable. You don't have to like the characters in order to like and appreciate the film. Sadly, the beautiful, sensual and talented Nastassja Kinski (Cherri) does not have much to play while Ben Stiller does and I am not his fan - even in this film.

LaBute's usage of "Metallica"s "Enter Sandman" (performed by Apocalyptica) during the opening and the closing credits instantly pulled me in and Bryony Atkinson's song "My Hollow" is terrific.

In this fairly ordinary film the pace drags and the characters get tedious. But there are moments of pure gold, and I enjoyed the frank and explicit sex discussions. But the real gold is JASON PATRIC. Not only does he look great, as always, but he plays the most horrible person I have ever seen in any film. Without a single redeeming feature he swaggers cockily through the film and, somehow, is utterly charming. Ah, the attraction of the devil! His long speech in which he describes his best sexual experience is worth sitting through the rest of the film for - it is both brilliantly acted and written, and I'm sure will become a regular "party piece" for auditioning actors. And that scene in the book-store. Wow! Congrats Jason, I'm glad you did receive some award attention for this role - you should have won an Oscar!

This is Neil LaBute's more lavish but no less vitriolic follow-up to "In the Company of Men". Whereas that film had a documentary sense of realism to it, this one feels very much like a play. Although nothing mystical happens, there's a sense of surreality that coats this film. From the opening music, an oddly appealing version of Metallica's "Enter Sandman" played on four cellos by a quartet called Apocalyptica, to the main titles, which are superimposed over a sedate Alex Katz print called "The Cocktail Party", we enter a world of wealth and culture. Only under the glossy surface beats a soulless heart.

Witness an early dinner scene. Two couples meet at one's swanky townhouse, exchange pleasantries and share glasses of wine. The women are smartly dressed. The men are too (one of them laments a spill on his new doeskin jacket). But they never connect in a tangible way. Until, that is, an offer of infidelity is confidentially proffered. The movie uses this moment to jump off into a world where everyone (but one) appears stable but all are ineffectual and socially retarded. This point is further driven home by a series of scenes set in an art gallery, where each character uses the same verbatim small talk with an artist's assistant to expose significant aspects of their character. They're artificial moments, but delicately set up the tone of the film. The cast is uniformly excellent, if not overly mannered, which further helps create the feeling that you're watching a play rather than a film. Ben Stiller's character represents this the best, not just because he's a drama professor. He is erudite and articulate when "performing", such as when lecturing his students, or giving a tour of a museum. But when he gets into social situations, Stiller fails to complete a single one of his thoughts. Most of his sentences trail off, ending with the question "You know?" or just a resigned sigh. It's an evocative (if a touch shallow) character trait, but damn if it doesn't get annoying by film's end. I had this intense desire to slap Ben good.

Aaron Eckhart sports a $2 haircut, a cheesy moustache, and a bulging gut. He's playing a character exactly opposite to his toxic Chad from "In the Company of Men", and it's amazing that one man can pull off both roles. Eckhart has proven himself to be a marvelous chameleon-like actor, easily filling out the pathetic and needy sap LaBute has written for him here.

Jason Patric gets the toxic role this time, playing a misogynistic obstetrician (he's prone to playing football with a model of a fetus). His stories of extreme behaviour "amuse" his friends. One involves sending a retributive note to an ex-girlfriend on doctor's stationary, informing her that she may be HIV-positive. Another, in the scene that the film will be forever known for, involves high school hijinks in the gym shower with a bullied boy named Timmy. Patric wrings every bit of wickedness from this story, told in one incredibly long close-up take. It's a powerful little moment that leaves the audience (not to mention the other characters in the scene) exclaiming, "What the heck was that?"

Catherine Keener, so energetic in "Being John Malkovich", is much more subdued here. But you can feel her frustration bubbling up beneath the service (she's Stiller's girlfriend, and is as fed up with him as the audience is). Keener is a very self-aware actress, knowing when to go full throttle and when to pull back. Hers is not the showiest role in the film, but it ranks right up there with the most memorable.

Nastassja Kinski is used the least of the six main actors (author's note: Come to think of it, there are only six speaking parts in the whole movie, making the theatrical nature of the piece even more profound). And it's probably for the best. She is fetching, but doesn't bring much more to the role than quiet neediness.

Amy Brenneman plays Eckhart's wife, and has an affair with Stiller. She stays nervous and reticent throughout the movie, never giving in to her boredom or frustration even when the moment calls for a little blow-up. In the beginning she passes for the innocent moral centre of the film, but by the end she is the one most corrupted. Brenneman does well playing both sides of this coin.

Writer/Director LaBute appears to have learned much since "Men". He's more confident using close-ups to get in his characters' faces. And the film looks luscious bathed in warm autumnal hues. The story, such as it is, is told through a series of vignettes, each tellingly juxtaposed with the next to subtly portray the differences between men and women. A scene of three women talking about sex over lunch is followed by one of three men in a steam room pondering the same subject, in a cruder manner. And though there is no real narrative thrust, the individual scenes themselves are propulsive enough to keep the viewer interested.

9/10

1998 100 minutes Rated: R CC.

I gave this movie about 45 minutes and then left. I cannot believe Roger Ebert actually gave this movie 4 stars! It took forever to get going and was painstakingly slow. A more dramatic flair for a very promising plot. Anybody who liked this movie must be comatose!