TuDiosEsMiBastardo Mild non-vital spoilers come until the section marked ***(text goes here)*** Claire Goldstein is an elegant bimbo but a bimbo nonetheless, her friends are a sl*t, a nerd, a druggie, two TV-looking women and another bimbo, all who love to spend most of their time in wishful thinking and the parties these inspire, her sister is an absent-minded obsessive neurotic, her mentor is a strange swan in the way that he is not the corrupter but the other way around, he is more like her father figure with her parents very absent from her take on life in the movie... And I highlight the fact that he is not the cause of her corruption since in gossips, stereotypes and archetypes the gay friends conduct the women towards bitchery. She allows for an asshole playing an overdeveloped act win her and mourns with drugs just 'cause. Her mentor is not any better when it comes to his story with a guy who dumped him but whose existence is still important to him. The madness of the father developed by the father ***and the accidental drugging of the parents*** makes no sense, its funny but exaggerates the concept ***of being affected by a drug***. ***The strength of the slut grows dim very soon but its not appropriately explained and the protagonist cant answer the help provided by paying proper attention to her friend.*** A premise exists in the lessons she is taught to be all false. The druggie is meant to be the source of wisdom and again his actions makes no sense. The hypersexual asking her to join the orgy was so blunt and lacking of style that everything was influenced for the worse by his appearance. The scenes are filmed in such a way that everything seems great and important, this visual grandiloquence is the best in the film and the only thing that could draw me further and further into the end, expecting something to happen for the plot and its realization to improve. The plot, like this text, lacked any organization and the more I saw of it the more I hated the character for her stupidity, the more I hated all the characters in the movie. So it seemed the productors wanted to defend the lifestyle of its pitiful characters and, at the end, all I could appreciate was the beautiful use of the camera and the pity it made me feel for the everyday fool it was aimed for. ***The most I could cheer was the dumping of the as*h*le for a professional career, but seeing how the marriage was not canceled there was more for me to pity.*** The end product is kitsch in all the worst ways something can be kitsch. It was such a rubbish except for its nice visuals that I've not willed to do any effort to polish this entry, I did to much by just watching it. Luckily "The Fantasticks" followed and whether the later is a good film or not, the previous film left a good context to enjoy the later, with the aftertaste of this rubbish I could focus in the movies secondary plots to enjoy its criticism of quixotic females a la Madame Bovarie and a culture of feigned feelings like the rubbish I'm trashing in here did.

zimbo_the_donkey_boy This is obviously a chick flick and therefore not aimed at me but, even so, I cannot see that this movie serves any point whatsoever. Alicia Witt is charming but that is NOT all that a real film requires. This is a "comedy" created by Hollywood hacks who do not really respect comedy. "Let's have a normal heroine and throw ha ha hilarious eccentric characters all around her." That's not how you create comedy, it's how contemptuous people slough junk off onto us. If you enjoyed this film, you must laugh uproariously when you see people around you fall into mud puddles. I sure wish Hollywood would quit trying to market this sort of thing as comedy and come up with some new term for it. My suggestion would be "lamedy" but I don't suppose they'd go for that. While taking a walk, a little kid in the park said, "Poop," to me. If you find that hilarious, then you'll enjoy this flick.

stormdude This movie is fairly campy but Alicia Witt is an engaging jewel that kept me glued to the screen. Other than that, I feel you must need a screwed up family to appreciate the humor involved in many of the scenarios. I know I enjoyed this film...

harry-76 Every so often a really interesting actor comes along which strikes one's attention. Ivan Sergei is a fine example.Sergei's role as Matt Mateo in "The Opposite of Sex" (1998) was a perfect vehicle for this handsome actor, with a 6' 4" frame that can seem almost gawky in its skinny countenance. He perfectly caputured the essence of Christina Ricci's "semi-husband," between affairs with Martin Donavan's and Johnny Galecki's "lovers" in that delicious black comedy.Sergei there offered a wonderfully modulated performance, with excellent comic timing. He could be intelligent or dim-witted, but one thing he's not, and that's insincere.That's why his two-timing Eddie in "Playing Mona Lisa" (2000) is so unconvincing in the later part of the script. Sergei's probably just too helluva nice guy in real life-- and that's just fine, for he can go a long way by just playing himself onscreen. It's up to casting directors to properly utilize Sergei's engratiating personality in the proper roles.Further, in the long run, it really may be to his advantage to keep himself in the second or third "tier" of casting credits. He won't become a "star" or "romantic lead" this way (though he facially looks the part). But he may keep working and stay healthy much longer, while enjoying what he obviously loves to do: act. He has both the looks and the voice to sustain a quite respectable career.In the case of "Playing Mona Lisa," Marni Freedman's scenario from her play is too fragmented to provide Sergei or most of the other cast members with much of a chance to develop well-rounded characterizations. Nor does Matthew Huffman's erratic direction help matters. In the end, the movie becomes rather forgettable, leaving scant impression.It's just nice to see Ivan Sergei in the cast. When you see him listed, you know you're in for some warm moments with a charismatic personality who loves his craft and (very likely) humanity.