by Walter Chaw Shaping up as a spoof but neither smart enough to earn that label nor exciting enough to sustain interest otherwise, Tom Dey's slick Showtime is
an incoherent mess of a film that relies on explosions and volume to distract from its tin ear and flat pacing.
It's part of DePalma's «style» to ripoff shots and scenes from other scenes and insert them willy - nilly into his own films, and the OOTP guys go into detail on how this radical decontextualization creates
an incoherent mess of a film that can't possibly contain any actual meaning, at best, and at worst perverts the original meanings to DePalma's vaguely fascist (or misogynistic, if you like) purposes, as in the famous appropriation of the tumbling baby cart sequence in The Untouchables.
Not exact matches
Usually, that results in an
incoherent mess, but they've instead crafted an ultra-violent thrill - ride
of a
film.
Take the opening - night
film, Chicago 10, an intriguing - sounding animation - plus - archive - footage treatment
of the trial
of Abbie Hoffman et al. for instigating the mayhem surrounding the 1968 Democratic National Convention: a completely
incoherent mess.
In other words, it's just oodles
of words seemingly thrown together into an
incoherent mess of a «review»... and while I'll be giving this
film a chance by choosing to view it, I won't, however, be coming here to read
film reviews from now on.