Linkshoch Wonderful Movie

BlazeLime Strong and Moving!

VividSimon Simply Perfect

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Irishchatter I honestly didn't have a clue what the characters said to each other in this, it was like they were mumbling throughout the whole time. What I'm meaning here is that everyone didn't speak clearly or seem interested in being involved with the movie at all.I think it would be better to not think about the story line and concentrate more on the music, this is all about Disco right?I mean, use that genre to play the type of music in which it brings us. Nothing much I can say about this film but I thought the story line was pretty boring and bleak. The songs were good at least to match the films title....

sandover I do not mean it as an aesthetic judgement, just a sort of an essay in translating in logical terms the hard to pin down effect it had on me, for all the shallow characters on display, it is affectively rich.It is a film difficult and at the same time deceptively simple to summarize - the only way I feel I can do it is pin down the tone as I see it: Chloe Sevigny plays Alice who is not in Wonderland or Oz (even if the occasional characters appear in Discoland) but actually seems more like Voltaire's Candide, candid even when confronted with her "best friend"'s common, constant, bitchy smugness, who in fact turns into some kind of likable caricature in the end, likable that is when you think she is some kind of irony's scapegoat: she simply HAS to end up in TV, that is the crippled purgatory she deserves.Along with Alice, Josh (Matt Keeslar) has his Candide moment in the end, as outsider spokesman for the disco era: I do not think Stillman is ironic here - and the reason why is that in the comedy of human flaws Stillman wants to present us, we get our ironic portion of that in Chekhovian levity, so I do not think that anyone would end up something in a flat note.The film ends in a lively manner that is also nostalgic and shorthand, that is affectionately shorthand as, one supposes, all Stillman's films are. How can it be otherwise? Here he offers us - could we call it a vision? - Candide (in his simple, clear morality) in a Chekhovian play keeping time in Bret Easton Ellis' era. It can't equate into more than zero, but it warps itself out unbalancing that 80's nothing, proving in a blink of an eye the famous less is more.

eddiez61 Disco was a high energy, drug fueled, frantic, primal experience that was beyond rationality, that defied nature, that reveled in absurdity. But this film is a bland, somber, melancholic chat fest that demands that its audience forget everything its ever heard about or seen of or actually experienced at a disco. It's beyond stupid. The whole premise is flawed, that disco died in the early eighties - it didn't, it mutated into an even more frantic, outrageous club scene. But this true fact doesn't deter the film's creators from their inaccurate pointless fantasy.A couple of discos may have closed down or changed style in Manhattan but clubs where people danced were actually even more popular and numerous. The celebrity glitz factor may have faded, but the intense social scene was charging ahead. Cocaine was everywhere by the bucket fulls at the time, not just up Hollywood's noses, and the nightlife was running hot on its power. It was insane, deranged, unbelievable. But this dumb flick wants you to believe that a whole world was collapsing, that an entire generation of party animals quickly went extinct. Wrong.If this movie is meant to be a comment on the virus like spread of Reagonomics into every aspect of American culture throughout the 80s, then having a grand Disco as the setting pretty much mandates that the film be a broad parody. But it isn't, it's just a self conscious exercise in style. But even the style is wrong. Power suits and ties wouldn't be fashionable till the next decade. No real urban hipster in the 80's would be seen dead in a pinstripe. Designer jeans were what the heavy weights were sporting, even the upper crust. So the "look" is off, which leaves the substance to carry the project. What substance there is is vacuous, vapid, and very annoying.The dialog is all stilted, awkward and overly literate - unnatural. It's like listening to a lit student read his or her first script. The acting is uneven and unfocused. No one seems to know what the point of this movie is, and all the talk and gestures don't add up to anything greater than themselves. It's just a series of smugly clever comments and shallow observations, but there's no direction to any of it. Chloë Sevigny is interesting to look at for a little bit but her "acting" is so flat and boring. Her partner, Kate Beckinsale, tries to do pump some life into the lame words she's given but there's only so much she can do with this corpse of a script. As wrong, and absurd, and demented as it was, Disco was a massive whale of an international phenomenon, but you'd never know it from this puny limp fish of a failure.

gcd70 I do not believe anyone could make a film more boring than "The Last Days of Disco" if they had a thousand attempts. This pic works better than a sedative to numb the senses.If you manage to stay awake for the first hour and a half, you may then be treated to a few clever lines and original diatribes. Most of the movie is horribly contrived however.What really kills the film is the hopelessly uninteresting characters. The audience will quickly forget who was who, if they ever bother to figure it out. A terrible excuse for a disco flick.Friday, November 27, 1998 - Astor Theatre StKilda