|Miramax Films | Release Date: August 2, 2002||CRITIC SCORE DISTRIBUTION|
That's all Full Frontal is: a brilliant gag at the expense of those who paid for it and those who pay to see it.
The movie remains fragmented, elliptical and overplotted to the point of being hard to track. Still, it's worth hanging in for the finish, a birthday party for Gus (David Duchovny), the producer of the film and the one person they're all linked to. Then Soderbergh pulls off a delicious trick, a gesture of pure, tender, unabashed movie love that makes up for everything. Read full review
Feels like a tonic for its makers, a means of clearing the palate after a series of rich meals. For viewers who appreciate risks, it should be just as refreshing.
The medium really is the message here, and it steals what there is of the show.
Fails because it takes itself so seriously, and because it is itself so seriously dull. Soderbergh's straining to give us a wink -- come on, guys, this is fun -- but really it just feels like some awful eye twitch -- a spasm of yawning self-indulgence in a mostly captivating career. Read full review
In this film, Soderbergh appears to judge the actors by how well they spew or swallow bile.
Full Frontal is the sort of arbitrary mess that gives experimentation a bad name. The news that the movie was shot on digital video and film in eighteen days, and that the actors drove themselves to the set and applied their own makeup, would have made a nice Sunday Times story if the movie were any good. But it isn't. [5 August 2002, p. 80]
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