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Most romantic comedies retract location in… you know, the world of the living. They rarely star humdrum people. And not suicides, either.
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But “Wristcutters: A Fancy Memoir” is not going to be tied down by that. This appetizing, unlit small cult film is about people who have committed suicide, and are now stuck in a limbo zone that is unbiased like the living world, but less provocative. It’s also gloomy, humorous and poignant — everything you want in a very unusual diminutive indie movie.
Because of a breakup, Zia (Patrick Fugit) has decided that life is no longer worth living. He cleans his house, slits his wrists — and finds himself in a queer twilight-zone with no sunshine, smiles, or exquisite food, and entirely populated by suicides — believe a Midwestern petite town, but more depressing. He eventually gets a job, a imperfect roommate, and befriends Eugene (Shea Whigham) a likably bombastic Russian rocker.
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But then Zia learns from a original suicide that his girlfriend, Desiree (Leslie Bibb) has also offed herself. So he and Eugene bundle into Eugene’s atrocious venerable car, and begin a road run to gain her — picking up the stunning, feisty Mikal (Shannyn Sossamon), who says she’s been placed there mistakenly. The peculiar trio rattles through this suicide world, until they stumble across a queer camp in the wilderness…
I first heard about “Wristcutters” a long while ago, on myspace — but in the months that followed, it unbiased sort of floated in a limbo of its beget. Lovely frustrating, but Goran Dukic actually makes it worth waiting for — it’s a quirky and shaded indie comedy, a tragedy, and a fancy epic all in one.
As you can probably guess, the movie’s main message is that you should live a life worth enjoying, and cherish someone worth loving. Yeah, the core of it is a guy who loses the girl, kills himself, tries to find the girl, and falls in treasure with the worthier choice — all while wondering if adore is unruffled possible for those whose hearts have stopped.
But that potentially soppy message is wrapped up in clever slight quirks in Wristcutterville (Zia works at “Kamikaze Pizza”) or the various deaths of the people who live there (Eugene electrocuted himself to catch the crowd to pay attention) . It feels pleasantly, wistfully warped — both with macabre humour (the hole-in-the-head cop) and luscious dialogue (“I’m not going out tonight. It unprejudiced makes me unfortunate.” “So, what you gonna do? Waste yourself? “) .
And you gotta admit, this postmodern Purgatorio is an bright notion — it’s portrayed with a sort of low-budget magical realism. Suicide wounds, pale faces, bleak landscape, and “Care For Will Go Us Apart” is a favorite tune. It’s fine fitting that the set for those who have given up hope is a state where hope and joy are nonexistant.
It also has a very edifying, poignant ending — yeah, it seems like a bit of a cop-out, but somehow by the time we got there, I didn’t mind. It ties in with the lesson of the movie, and the poignant itsy-bitsy adore between Zia and Mikal.
Fugit is a likably confused, sweet character who is unprejudiced a bit dense, since it takes him awhile to figure out what a mountainous, comic girl Mikal is. And Whigham — whose character was partly based on Gogol Bordello’s Eugene Hutz — rules all the scenes he’s in, as one of the few suicides who quiet has his vitality, libido and humour intact (“Everyone knows that man in help does not have c**k”) .
Sad, quirky and poignant, “Wristcutters: A Adore Tale” is an offbeat love/road-trip movie in the land of suicides — it’s a brilliantly warped dinky cult movie, and definitely worth seeing.
This film goes far beyond the short record “Neller’s Delighted Campers” by Etgar Keret found in The Bus Driver Who Wanted To Be God & Other Stories. It is about the unfamiliar world that suicides go to. (A world impartial like this one only worse) .
You will eye some exclusive things on the gallop you buy in this film with the characters.
The acting is obedient.
The soundtrack ranges from the otherworldly to Eskimo throat singing. (You’ve got to hear it)
It is a very sunless comedy but has a surprisingly light touch and a goofy feel-good style. It is hard to report. It is like “Crossroads” meets “Road Warrior” but everybody is already uninteresting.
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