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80Of the many remarks Weber makes in the course of his beautifully fashioned film, none may be more significant than his observation, "We photograph things we can never be."
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75Eclectic, grandly engaging documentary.
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75Faye's presence provides an unexpected context for the photographer's circle, where the gay and straight worlds overlap, and adds a delightful dimension to Chop Suey.
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70Though undoubtedly a vanity project -- the music clearances alone must have cost much more than the film could ever hope to gross -- it functions pleasantly enough as an exercise in free association.
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63A gentle film, not very controversial despite its gay content, Chop Sue is valuable as a record of beauty and obsession, much less interesting as a human document.
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63Chop Suey is, in the end, as much a tease as Weber's photographs -- not much substance, but rather sweet and with style to burn.
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60Amid the clutter, Weber -- who narrates but never appears in front of the camera -- occasionally allows a glimpse into his own mind.
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60Chop Suey really captivates with surfaces; look away for an instant, and the spell is broken.
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60Weber uses Faye as base from which to branch out in bizarre directions.
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50We leave hungry for more of the film's substantial, if less physically perfect, subjects.
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50It's a pleasing but shallow hodgepodge.
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40Bids to whip homoerotic iconography into something palatable for those suspicious of the cuisine.
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38Caught with a shaky hand-held camera, this aimless diary glides indifferently along Weber's stellar collection of photos.
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30Time and again words fail Weber. He's a loquacious but unilluminating host.