This was a movie I watched only because I was curious how to pull of a goth road film. Nothing in the description beyond that appealed to me (I am a particular fan of road films).
On paper, this movie should have been irksome beginning to end. Heavily sentimental at times, Stevie Nicks obsessed girl with gay goth friend struggling with sexuality on their way to New York City...this is just not my world. I was pretty resolved not to like this from the opening scene on. It's kinda...chick-flicky. You know, it was kind of hard to see the screen over my uh, dudeness, if you get my drift. I was drinking Miller Lite, belching, and scratching myself at the time.
I attempted to scowl through the first half of the film, but the minute the damn Cure started playing ($#@& CURE! THEY ALWAYS DO THIS TO ME! I WILL SEE YOU IN HELL ROBERT SMITH! WHERE I WILL SING ALONG! AND CURSE YOU! BUT SING ALONG TOO! WHICH WILL BE MY ETERNAL TORMENT! $#@& CURE! I HATE YOU! YOUR MUSIC RULES! CAN I BE IN THE BAND PLEASE. ARGH.) I lost my resolve and just had to admit I really liked this, and really sympathized with the characters. I wanted to see them happy, wanted to see them get what they needed. Once characters win me over in a film, the game is over, and I'm sold. Largely on the strength of the alienation theme, but also, I have to say, in the way these actors nailed the parts, well...
I mean to say, I really liked this movie. I'd even call it excellent. I will probably watch it again.
In The Razor's Edge (Bill Murray version), there is an excellent line I have never forgotten, which is, "It's easy to be a holy man on top of a mountain," and somehow this film has makes an equally quotable counterpoint when Gypsy says, "Try being a freak in the real world" to a bunch of mocking, catty, obnoxious goths.
Anyway, uncle. This is a *really good* film and I have nothing bad to say about it. I still don't get goths but I get not fitting in. And it's a reminder that we ought to respect each others dreams, even if we don't fully understand them.
Also, I must remark on the leads here, Sara Rue and Kett Turton (as well as the always likable John Doe), who nailed these parts. They brought boatloads of charm to these self absorbed characters who, in the hands of less capable actors, could have wound up being whiny and irritating.
On paper, this movie should have been irksome beginning to end. Heavily sentimental at times, Stevie Nicks obsessed girl with gay goth friend struggling with sexuality on their way to New York City...this is just not my world. I was pretty resolved not to like this from the opening scene on. It's kinda...chick-flicky. You know, it was kind of hard to see the screen over my uh, dudeness, if you get my drift. I was drinking Miller Lite, belching, and scratching myself at the time.
I attempted to scowl through the first half of the film, but the minute the damn Cure started playing ($#@& CURE! THEY ALWAYS DO THIS TO ME! I WILL SEE YOU IN HELL ROBERT SMITH! WHERE I WILL SING ALONG! AND CURSE YOU! BUT SING ALONG TOO! WHICH WILL BE MY ETERNAL TORMENT! $#@& CURE! I HATE YOU! YOUR MUSIC RULES! CAN I BE IN THE BAND PLEASE. ARGH.) I lost my resolve and just had to admit I really liked this, and really sympathized with the characters. I wanted to see them happy, wanted to see them get what they needed. Once characters win me over in a film, the game is over, and I'm sold. Largely on the strength of the alienation theme, but also, I have to say, in the way these actors nailed the parts, well...
I mean to say, I really liked this movie. I'd even call it excellent. I will probably watch it again.
In The Razor's Edge (Bill Murray version), there is an excellent line I have never forgotten, which is, "It's easy to be a holy man on top of a mountain," and somehow this film has makes an equally quotable counterpoint when Gypsy says, "Try being a freak in the real world" to a bunch of mocking, catty, obnoxious goths.
Anyway, uncle. This is a *really good* film and I have nothing bad to say about it. I still don't get goths but I get not fitting in. And it's a reminder that we ought to respect each others dreams, even if we don't fully understand them.
Also, I must remark on the leads here, Sara Rue and Kett Turton (as well as the always likable John Doe), who nailed these parts. They brought boatloads of charm to these self absorbed characters who, in the hands of less capable actors, could have wound up being whiny and irritating.