I saw the film in Washington, D.C., but wasn't that impressed. It's head and shoulders above "Psycho Beach Party," but the film never really soared. Charles Busch is completely into the role as Angela. While he has a number of facial and body-language expressions that were quite funny, these grow stale as the film goes on. And Angela's lines are never particularly funny (although I did laugh at the way the dialogue does mock 40s and 50s B-movie female-schemers).
Phillip Baker Hall never quite fits into the role as Sol Sussman (he channels Walter Matthau far too much). His delivery seems rushed and sloppy, and he lacks physical presence in the film.
Natasha Lyonne never makes me believe she's acting at all in the film. "Edith" is a role made for Ricki Lake circa 1984 rather than for an edgy, realistic actress like Lyonne. I never quite felt that Edith was really angry or suspicious or jealous; I always felt like I was watching Lyonne act.
Stark Sands (what a body!) does a fairly decent job as boy-slut Lance, even though he's given inconsistent material to work with (one scene he's banging the faculty at his college, the next he's running away from Jason Priestley's bisexual P.I., the next he's forcing Priestley into sex -- what gives?). Sands, however, seems to be playing a queeny version of himself rather than really getting into the role of the "coded" teenage homosexual (a la Sal Mineo in "Rebel Without A Cause" or Russ Tamblyn in "Peyton Place").
Frances Conroy is clearly having a ball as boozy Bootsie, the maid. But in most of her scenes, she doesn't appear too deep into the role. Her best effort is when she drunkenly fantasizes about ruining her mistress' gowns. Now that is just good, solid acting. It's very good.
This is a good first effort for director Mark Rucker, who did a great job in defining the look of the film. But, as this film was shot in a mere 18 days (and with most scenes getting only one long take), there is very little editing in the film -- and it shows. Editing can help create the emotional impact of scenes, and Rucker and editor Philip Harrison were really unable to do that. (Cinematographer Kelly Evans did a professional job, but her work is not inspired. Nor is it even derivative of 50s B-movies, which could have made the film truly funny.)
But super-kudos to costume designers Michael Bottari, Ronald Case and Thomas Marquez for their outstanding efforts!
Phillip Baker Hall never quite fits into the role as Sol Sussman (he channels Walter Matthau far too much). His delivery seems rushed and sloppy, and he lacks physical presence in the film.
Natasha Lyonne never makes me believe she's acting at all in the film. "Edith" is a role made for Ricki Lake circa 1984 rather than for an edgy, realistic actress like Lyonne. I never quite felt that Edith was really angry or suspicious or jealous; I always felt like I was watching Lyonne act.
Stark Sands (what a body!) does a fairly decent job as boy-slut Lance, even though he's given inconsistent material to work with (one scene he's banging the faculty at his college, the next he's running away from Jason Priestley's bisexual P.I., the next he's forcing Priestley into sex -- what gives?). Sands, however, seems to be playing a queeny version of himself rather than really getting into the role of the "coded" teenage homosexual (a la Sal Mineo in "Rebel Without A Cause" or Russ Tamblyn in "Peyton Place").
Frances Conroy is clearly having a ball as boozy Bootsie, the maid. But in most of her scenes, she doesn't appear too deep into the role. Her best effort is when she drunkenly fantasizes about ruining her mistress' gowns. Now that is just good, solid acting. It's very good.
This is a good first effort for director Mark Rucker, who did a great job in defining the look of the film. But, as this film was shot in a mere 18 days (and with most scenes getting only one long take), there is very little editing in the film -- and it shows. Editing can help create the emotional impact of scenes, and Rucker and editor Philip Harrison were really unable to do that. (Cinematographer Kelly Evans did a professional job, but her work is not inspired. Nor is it even derivative of 50s B-movies, which could have made the film truly funny.)
But super-kudos to costume designers Michael Bottari, Ronald Case and Thomas Marquez for their outstanding efforts!