Le prince de Greenwich Village

Set mostly in a flashback to 1973 New York City, this is at heart not a coming of age movie but a coming to terms movie. From the opening scenes in Paris, we're set up by a voice-over narrative to expect terrible events which would change a boy's life. And, true to its word, we are delivered a series of disasters, many of which are prefigured in a short-handed kind of way. But it doesn't really matter, because you know where the film is heading, and your reaction to the last 15 minutes coming out of the flashbacks will pretty much determine whether you like this film or not. (Note that the ratings here are split pretty dramatically between very positive and very negative.) The things that are right with the film are good, sometimes very good. At the top of the "good" list is Erykah Badu's outstanding performance as a prisoner in the Women's House of Detention , an urban jail with windows over the street, who offers conversation and advice to the young protagonist. Also, the evocative period setting, which puts to shame a lot of films with many times the budget. Finally, there are a few deft touches of humor in the dialog, particularly in the early scenes of school life. The other performances are a bit more uneven. Anton Yelchin, the younger version of Duchony's character, is often winning and natural, but when real crisis hits, I didn't buy his grief and desperation. Not knowing the Robin Williams role, I cringed a bit when he first appeared on screen, but his performance is for the most part fairly restrained -- at least by Robin Williams' standards. Ducovny and wife Tea Leoni were competent but not compelling. We saw this film at a preview that featured a Q&A with Ducovny afterward. He clearly has affection for the material and, if anything, set out to make an even more modest film, budget-wise, than this. This is potentially pretty dicey plot material and could have veered severely wrong, particularly toward sloppy sentimentality. While I don't think the film entirely escaped this, it's certain a better film than, say, the dreadfully manipulative, "The Notebook". If you're not expecting too much and you can appreciate the 70's period setting, you'll probably enjoy this. If you're expecting a genius writer-director first film out of Ducovny -- you will be disappointed. Bottom line: give Ducovny some space and let's wait for his second film before delivering an real judgment on his career as writer-director.

If you'd like to see an actor go beyond what's expected in his expression of self, then see this movie. Being that Duchovny not only appears in but wrote "House of d" should lend you to the depth this man carries, far beyond any Mulder personification could have introduced. The movie deals with growing up and the challenges a boy must face beyond the stereotypical expectation of getting laid. This movie challenges the audience to feel safe with being uncomfortable. Robin Williams was wonderful as was the rest of the cast being as honest and true to not only their characters, but to the struggle of being human. I commend David for taking such a risk at being real. Besides that he hasn't lost a beat when it comes to applying his dry wit at exactly the right moment. If you like Upside of Anger or Finding Neverland, this movie is for you.

In his feature debut as both writer and director, Duchovny offers up a heartfelt film filled with well anchored elements of character, humor, ethical dilemmas and choices that pave the roads of our lives.

Strong, well chosen casting with inspiring performances by Anton Yelchin (Tommy), Robin Williams (Pappass) and Erykah Badu (Lady) add to a meaningful story that Duchovny rooted in his childhood neighborhood of New York.

In a world today where the baptism of manhood is often forged with sex, gangs and violence, Duchovny takes us back into an inner battlefield where the true merit of a hero's journey is fought. Within one's self.

I saw it in a screening preview and would be happy to pay to see it again. And this time, I'd bring the teens.

I had been wanting to see this film since I had the chance to see the preview. I must say I enjoyed it. The pacing may have been a bit off, but for what it was, it did an excellent job.

I think my biggest problem with this film is David. Not that it was a bad performance, just that he had a tough job competing with the kid who played the younger version of himself. Everyone gave great performances, even his wife whom I usually don't care for. The movies first half was great, but lacked in the last twenty minutes. Honestly, it felt like it could have gone longer, perhaps a little more in-depth.

Still, good job.

We struggle to grow up all our lives. Many grow old without doing the work involved in truly growing up. We mistakenly think that growing up just happens to us, when in fact that very passivity is what causes us to grow old without ever actually maturing. Growing up requires conscious personal effort. House Of D is about such a man, who in middle age, with a 13 year old son, realizes he is beginning to grow old without having grown up. As his son crosses the threshold to manhood, Tom (Duchovny) makes the decision to confront & resolve the issues that caused him to retreat into himself at 13 rather than advancing into real manhood.

I enjoy Duchovny's acting, and he handled his on screen time capably in the second part of the film. However, the establishing scenes were slightly awkward & stilted. The film only begins to show its spirit when we flash back to New York City 1973.

Anton Yelchin portrays the young Tommy, and has a staggering amount of potential to grow into as an artist. Duchovny has a great feel for directing young people, a task known to be notoriously difficult. There are also some embarrassingly terrible performances, from Robin Williams & Tea Leoni. Williams falls off the horse right at the outset of his portrayal of the 'retarded' Pappass and never manages to get back on again. It seems to be partly poor definition in the writing of the character, and partly the actor's failure to connect with & breathe life into him. This despite a clear on screen rapport between himself & Yelchin. It mars what would have otherwise been a better film. Tea Leoni's performance adds nothing to her career or to the film. It isn't a portrayal, rather a thumbnail sketch. Leoni is an actress of limited ability, who needs strong direction to deliver a capable performance. It was a mistake to have her in the film, as she too succeeds in diminishing it, delivering what comes across as a deliberately bad performance. Leoni's appearance also embarrasses because she is Duchovny's wife and one or both of them should've known better than to allow this.

I was disappointed Frank Langella, undoubtedly the best actor in the movie, had so little to do. His few scenes are wonderful. A pleasure to see Orlando Jones, albeit briefly. Erykah Badu's singing is sublime, and she delivers a strong, warm performance.

Other performances ranged from adequate to forgettable.

Most of the music in the film is decent and well placed.

Duchovny has the potential to be a fine director. This was already known to those who enjoyed the episodes of X-Files he directed. Does he expand his directing skills in House of D? Yes. He shows a real flair for directing young actors, which I had never previously suspected. Duchovny scored high with inexperienced young actors, evoking clean, impressive performances, from Yelchin in particular; but low with veterans Williams & Leoni.

The writing is wildly uneven. Inventive, clever, inspired, insightful & touching in places. At other times it fails to ring true, and some of the plot devices are frankly ludicrous. It's almost as though 2 completely different people worked on the screenplay without ever meeting or actually engaging in a collaboration. I found this a little disconcerting at times. I know Duchovny is a better than average writer, so the unevenness of the script, and the bizarre disjointed quality, had me scratching my head more than once. I wonder what the screenplay originally looked like. Did some heavy-duty editing compromise the coherence of the script?

The cinematography was awesome, whether we were looking at Paris at night or a toilet bowl full of cigarette butts. No surprises there when you realize it's the work of Michael Chapman, who has worked with Scorsese, Allen, and many others. He also worked on Duchovny's film "Evolution."

We're at an interesting stage in our psychological evolution. A quiet revolution is taking place as more & more individuals are learning to embrace a new understanding of personal responsibility. People ARE learning to "see the world a little differently" to refer to the tag line. Some have made the hurtle and are seeing, and living in a new way. A larger number of people are resisting making that leap right now. Change is rarely easy. Letting go of old, outmoded ways of seeing & doing things is hard. House Of D is the story of one human being who makes that leap. Achieving personal sovereignty is a crowning experience that many have deprived themselves of. As more of us step forward to claim this privilege of genuine personal autonomy, and society begins to noticeably shift as a result, films like House Of D will be regarded with more understanding & affection.

Duchovny could've traded on his established image & popularity, played it safe, manufactured a piece of typical Hollywood junk, and have everyone pat him on the back. He didn't and I like that about his attitude.

That's part of what's admirable about him. He's willing to take chances and make an ass of himself. He has made mistakes which would finish other actors. Yet he also has courage, intelligence, daring, originality, humor, and most of all, genuine talent, which keeps bringing us back to consider his work, and finding merit in it. Duchovny has cut his directorial teeth on an unconventional, rewarding first film.

I perceive an iconoclastic, Almodovarian streak lurking in Duchovny both as writer and director. It's there, as a delicious undercurrent running through House Of D. I'd love to see him have the confidence to express that side of himself more in the future. To thine own self be true, David.