Fix

"Fix" is a wonderfully shot, brilliantly acted and incredibly well directed film, which deserves all the praise that can be thrown its way. Tao Ruspoli takes the audience on a witty, energetic and truly emotional journey through Los Angeles in the course of one outrageous day in the lives of the characters. The jumpy hand-held camera style is not among my favorite film-making techniques and has gone horribly wrong on numerous occasions. However, if there ever was a film in which this works, it is "Fix". The sheer inventiveness of director/cameraman Ruspoli gives the film a gritty energy that is truly unique. Almost every single scene in this picture is a work of art itself. Add to that the extremely well-written (or amazingly improvised, I cannot tell) dialogue and the amazing performances of both Olivia Wilde and Shawn Andrews and you are left with a wholly satisfying experience. I would tip it for My Favourite Indie Film of the Decade. Seriously, I enjoyed it THAT much! Outrageously funny one second and deeply touching the next, this movie has all the advantages of an independent production and none of the down-sides (being too naive or too self-indulgent).

"My life's like that accident. You're just slowing down to look."

Not bad, not bad at all. Fix is a faux-documentary about a man and his girlfriend's attempt to get his charismatic, junkie brother to rehab by a court-ordered time. It takes place during the course of a single day in and around Los Angeles, and it's shot from the perspective of a hand-held camera that they're using to document the (supposedly simple) trip. Getting Leo to his destination turns out to be a lot more complicated than expected (of course), and we come along with them on the journey. 

I'll admit that I only watched it because Olivia Wilde was one of the main actors, but it ended up being a pleasant surprise. Visually, Fix is very interesting. The three main characters travel all through Los Angeles, and meet the requisite colorful and interesting characters. The story goes in a lot of different directions, from humor to social awareness to the typical road trip narrative. 

At times, it's not hard to see this as a real documentary with actual people. There's good chemistry between the actors (understandable, given their connections in real life), and that makes the entire movie easier to buy into.  Fix can be a little preachy and unfocused at times, but that makes sense when you consider that these characters probably would say things that they do to each other.

That's not to say that Fix doesn't veer into implausibility, from time to time. There are a few scenes that come off as incredibly inauthentic, and one at the end that was just too ridiculous and over-the-top. Eccentricity is fine, but it can hurt a movie when it's forced.

As far as small, independent, low-budget movies go, I've seen a lot worse. I'd recommend this to anyone who has an affinity for that kind of film. If you prefer the gloss and tidy bookends of a more typical movie, you might want to skip Fix.

I had a chance to catch this film at a screening and wow, I am so glad I decided to go see it.

Tao and the rest of the creatives really put together a wonderful team -- the ease and joy with which they worked is apparent in every shot. The character performances are bold, lovable, strong and somehow vulnerable at the same time. The locations are stellar -- it is a complete and all-encompassing homage to Los Angeles. And the cinematic guerrilla-style shooting really serves the piece -- allowing for some truly magical moments to unfold throughout the film that would not have otherwise been captured.

The audience was laughing, or should I saw guffawing, at the beginning and also at the end of the piece. Yet we were also moved by some very touching, pulled-from-real-life dialogue and the patchwork of cultures that make up the fabric of a fabulously seedy, not-often-shown-in-the-movies LA.

What else can I say? I loved it. Go see this film -- if you can, as fast as you can, with as many people as you can. You will not be sorry.

What Buddy-51 and many others failed to pick up on would be the typical cliched Bull Crap as in his own words spell out.

"At first she is disdainful and casually dismissive of Leo; then, as she gets to know him better, her hostility turns to grudging admiration, then tantalizing approval, and, finally, a willingness to become at least partially complicit in his actions, making her in a sense the Bonnie Parker of the piece"

Nothing is more cliched than a woman turning from being intelligent and knowing an A-hole when she sees one, to being what Buddy-51 described above.

It's almost as bad as the faked forced love interest a lot of these bone headed writers can't stop interjecting into everything they put out.

So spare me the rave reviews when this type of nonsense comes with the product. But what else would expect from weak AF writers who can dupe the easily lead ignoramuses that inhabit Merica, home of the dumbest people on the planet.

I didn't need to view this garbage to see that it's complete trash.

In the low-budget drama "Fix," Milo - played by Tao Ruspoli, who also directed and co-wrote the film with Jeremy C. Fels - and his girlfriend Bella (Olivia Wilde) are a couple of San Francisco-based filmmakers who are working on a documentary about the prison system in California. But before they can get to the task at hand, they have to drive to LA and get Milo's ne'er-do-well, drug-addict brother, Leo (Shawn Andrews), out of jail and into rehab by 8 in the evening or he'll be sentenced to three years in prison for violating his parole. They also have to find a way, by fair means or foul – mostly foul – of raising the $5,000 they'll need to enroll him in the program. Thus, the three of them race around the greater Los Angeles area, with the hopped-up, smooth-talking Leo finagling money out of some pretty shady and disreputable characters, though spending almost as much cash as he's taking in while doing so.

In a sense, Milo and Bella wind up making a documentary anyway – only on a subject different from the one they'd originally intended, one that arises from life as they're living it. We rarely get to see Milo's face on camera, since he spends most of the time filming the action (a la "The Blair Witch Project"). At this point, one either goes with this aggressive, you-are-there, pseudo-documentary style of fictional filmmaking or one doesn't. And, predictably perhaps, the approach, as employed in "Fix," is both dramatically effective and annoyingly distracting in roughly equal measure. The best part about the movie is its off-the-cuff glimpses into various milieus and locales in the LA area. The plot, which takes place over a 12-hour period, does have a spontaneous feel to it at times, though it also tends towards the redundant and attenuated. However, the final third of the film achieves a level of poignancy and artistry one wouldn't expect it to based solely on its earlier stretches.

Andrews brings a great deal of kinetic energy and roguish charm to the role of Leo, and Wilde is both poised and alluring as the attractive Bella. In fact, it is Bella's changing reactions to Leo and the world he inhabits that makes her the everyman character in the story who draws us more deeply into the venture than we would ever have gone without her. At first she is disdainful and casually dismissive of Leo; then, as she gets to know him better, her hostility turns to grudging admiration, then tantalizing approval, and, finally, a willingness to become at least partially complicit in his actions, making her in a sense the Bonnie Parker of the piece. The movie observes rather than judges Leo and the people he interacts with, while, at the same time, gently ribbing Milo – and, by extension, the actual filmmakers themselves - for his (and their) obsessive need to record every moment of existence rather than simply living life for its own sweet sake unencumbered by the camera.