X
- 1997
- Not Rated
- Northern Arts Entertainment
- 1 h 20 m
- 1997
- Not Rated
- Northern Arts Entertainment
- 1 h 20 m
Summary Steven Soderbergh films Spaulding Gray's 1993 monologue about the diagnosis and treatment of his rare eye ailment.
Directed By: Steven Soderbergh
Written By: Spalding Gray, Renée Shafransky
- 1997
- Not Rated
- Northern Arts Entertainment
- 1 h 20 m
- 1997
- Not Rated
- Northern Arts Entertainment
- 1 h 20 m
Gray's Anatomy
60
User Score
Available after 4 ratings
tbd
Summary Steven Soderbergh films Spaulding Gray's 1993 monologue about the diagnosis and treatment of his rare eye ailment.
Directed By: Steven Soderbergh
Written By: Spalding Gray, Renée Shafransky
Top Cast
Metascore
Mixed or Average
Based on 14 Critic Reviews
60
50% Positive
7 Reviews
7 Reviews
43% Mixed
6 Reviews
6 Reviews
7% Negative
1 Review
1 Review
Metascore
Mixed or Average
Based on 14 Critic Reviews
60
50% Positive
7 Reviews
7 Reviews
43% Mixed
6 Reviews
6 Reviews
7% Negative
1 Review
1 Review
When Gray brings things to a narrative conclusion, the movie feels perfectly structured. If it were any longer, it would tip the overindulgence scale, and lose its effectiveness. But at 80 minutes, the film feels compact and pithily observed. And you're quite prepared to meet Gray on his next flight of self-absorbed fancy. [30 May 1997, p.N41]
What threatens to be 80 minutes of hypochondria turns into an inspired travelogue of nontraditional remedies. [13 June 1997, p.03]
Steven Soderbergh takes Gray (who appeared in his little-appreciated gem "King of the Hill") places he's never been on-screen. Motion, color and brazen stylizing enhance what is at times a genuinely hysterical work on rationalized terror.[9 May 1997, p.F12]
This direction is more ambitious than apt, since it calls attention to the artifice that Mr. Gray otherwise conceals so well. Cuts and scene changes become distractingly blunt, as do the star's efforts to suggest spontaneous enthusiasm.
The artificiality peculiar to moviemaking rubs up counter-productively against the artificiality peculiar to live theater, making the movie version of Gray's material seem arch, contrived and starchy, not the spontaneous eruption that his theater work manages to resemble.
The movie Gray's Anatomy demonstrates that fully stimulating the senses isn't the same as fully engaging them. Gray still begins talking in his trademark plaid shirt with a notebook and glass of water at his table, but soon Soderbergh is sending him on a Disney ride of scenery changes, lighting effects and moody music. [1 August 1997]
There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.
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