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30The movie does a great job of capturing the excessive behavior and the fun that was had but it falls short in delivering a realistic picture of lives after the party ends. Christopher, like Rubell, is into giving his audience escape, not reality.
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30It's a flat, clumsy piece of filmmaking. When Phillippe and Ward are in bed, the shots are so badly matched that I believed they were having sex, just not with each other.
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30The film's sole redeeming facet is Mike Myers' rich, multilayered performance as Rubell: Simultaneously repulsive and charming, hedonistic and oddly paternal, Myers steals every scene he's in. It's a great performance that deserves to be in a much better film.
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Mike Myers plays Steve Rubell as the druggy epicenter of Studio 54, and his performance gives director Mark Christopher's soapy morality tale its only moments of wanton, hedonistic spirit.
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Offers nothing new, and a lot less. It's a hollow shell of a film, rife with plot twists that go nowhere.
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25There are easily 54 reasons to dis 54, but let's start and finish with the obvious: The script plays like a proud offering from the lead hand at the Cliché Factory.
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20If it's difficult to pinpoint exactly where this maladroit drama about the infamous New York discotheque went wrong, it's because everything in the film is lousy: The writing, the directing, the acting, the casting (Neve Campbell?), the moral posturing, the Capote clone, the Andy lookalike, even the glitter that clings to Salma Hayek's lashes like tears.
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20Decadence has rarely looked so pathetic, lethargic and dispiriting as it does in this listless film.
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20Years from now, if Mark Christopher's timid, meandering film 54 is spoken of at all, it will probably be lumped together with Whit Stillman's ''Last Days of Disco'' as one of two movies released in 1998 to bungle the same opportunity.