Overburdened with disorienting stylistic devices and contrived plot elements that reduce the psychological depth to which it aspires.
Choking Man (2007)
Runtime: 84 mins
Synopsis: Set in New York's Jamaica, Queens, CHOKING MAN illustrates the neighborhood's rich diversity. Ecuadorian immigrant Jorge (Octavio Gómez Berríos) washes dishes at a local diner, where he connects with a Chinese woman (Eugenia Yuan) and shies away from his bully of a coworker (Aaron Paul).... Set in New York's Jamaica, Queens, CHOKING MAN illustrates the neighborhood's rich diversity. Ecuadorian immigrant Jorge (Octavio Gómez Berríos) washes dishes at a local diner, where he connects with a Chinese woman (Eugenia Yuan) and shies away from his bully of a coworker (Aaron Paul). Mandy Patinkin costars as the owner of the diner. [More]
Genre: Dramas
Starring: Octavio Gómez Berríos, Eugenia Yuan, Aaron Paul, Mandy Patinkin
DVD Info
Release:
May 8, 2008
Reviews
In this case, what looks like an ambitious film-school project, complete with heavy-handed sincerity, experimental camera style, and an overplayed central metaphor, becomes gently lyrical and melancholy.
For all its enticing dramatic hooks, Choking Man has a fairly unrewarding conclusion.
[Barron] has made Jorge so deeply withdrawn that you are unable to really feel anything for him other than a blind pity, which is decidedly not the stuff of compelling dramaturgy.
Choking Man mainly falters in its inability to reconcile the darker psychological elements of Jorge's mind and all that they portend.
Choking Man is harsh and intermittently affecting but oppressively contrived and mostly pointless.
... wants to take us into Jorge's mind, though a less interesting and pleasant place would be hard to imagine.
I can think of no earthly reason why this well-made and thoroughly charming New York indie drama from writer-director Steve Barron has been languishing in limbo for two years.
If there is finally a point to the film it is that we're all human piñatas and that putting sprinkles in your fish soup may not be tasty, but it makes one's upchuck look pretty. I think.
Barron executes all the hard stuff remarkably well: vivid ensemble thesping, evocative locales and even unforced Catholic symbolism. But his high-concept protagonist is so introverted he projects a void at the film's center.


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