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The Dying Gaul (2005)
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Reviews Counted:66
Fresh:32
Rotten:34
Average Rating:5.7/10
Consensus: Though it has a fine cast, The Dying Gaul's plot feels calculated and too intellectualized.
Runtime: 1 hr 45 mins
Genre: Dramas
Synopsis: Playwright/screenwriter Craig Lucas (The Secret Lives of Dentists, Longtime Companion, Prelude to a Kiss) makes an audacious directorial debut with The Dying Gaul, a fiercely original psychological... Playwright/screenwriter Craig Lucas (The Secret Lives of Dentists, Longtime Companion, Prelude to a Kiss) makes an audacious directorial debut with The Dying Gaul, a fiercely original psychological thriller based on his play of the same name. Part Sunset Boulevard, part Greek tragedy, The Dying Gaul is a tale of lust, power, corruption, betrayal and revenge set in the seductive world of the Hollywood elite. Peter Sarsgaard stars as Robert Sandrich, a fledgling screenwriter who has been living on the fringes, writing spec script after spec script to no avail. His life changes when he is offered a million dollars for his latest and most personal work - "The Dying Gaul," the raw, autobiographical story of the death of his lover. But there's a catch - the studio thinks the project will be much more commercially viable if Robert will only change the dead lover to a woman. Making the offer is Jeffrey (Campbell Scott), a smooth, ruthless and sexually avaricious studio executive who seduces Robert with the intoxicating Hollywood cocktail of power, money and sex. Patricia Clarkson stars as Jeffrey's wife, Elaine, a former screenwriter now ensconced in a Malibu villa with children, a housekeeper, and time on her hands. She brings the grieving Robert into the family fold, drawn by his talent and his pain. When Robert confides that he finds solace, both sexual and emotional, in the ghost-like world of chat rooms, the curious Elaine meets him there anonymously. As their online dialogue unfolds, she discovers that Robert and her husband are having an affair. The shock of that revelation - and the unexpected way she responds - sets off a dangerous series of deceptions, confessions and betrayals. Never sliding into the conventional histrionics of the thriller, The Dying Gaul is infinitely more complex, as the lines between predator and prey, sadist and victim shift and blur. Visually stunning, The Dying Gaul contrasts the dazzling California sunlight that bleaches out the palm-lined movie studios and oceanfront estates with the cold and detached world of cell phones and computers. What emerges is a truly original postmodern Hollywood noir, unsettling, unpredictable and morally explosive. As John Cooper writes in the 2005 Sundance Film Festival program, "Lucas has honed a precise, interlocking plot that exploits his scalpel-sharp irony. The Dying Gaul will push you to the edge of your seat, simultaneously unnerving you with its complexity and frightening you with its believability." --© Hole Digger Studios [More]
Starring: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Robin Bartlett
Starring: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Robin Bartlett, Bill Camp, Thomas Jay Ryan
Director: Craig Lucas
Director: Craig Lucas
Screenwriter: Craig Lucas
Producer: Campbell Scott, George Van Buskirk
Composer: Steve Reich
Studio: Strand Releasing
Reviews for The Dying Gaul
Ultimately settles into the whip-smart independent it was meant to be.
By the end of the film, relationships have turned so corrosive that the characters leave an ugly aftertaste in the mind of the viewer.
It’s a very poor man’s version of Closer, with four characters chopped down to three, and Peter Sarsgaard and Campbell Scott standing in for Clive Owen and Jude Law.
An engrossing psychodrama about Hollywood, sex, and the primal emotions that can drastically change people's lives.
The one thing Greek tragedy shouldn't desperately want is any kind of catharsis.
Has neither hero nor villain, only humans. Beyond imperfect, they are complicated thinkers, lovers, dreamers, and performers.
What’s especially intriguing about The Dying Gaul is the way it causes your sympathies to shift from character to character.
Peter Sarsgaard is particularly exceptional in this dark look at art and artifice, but [its] twists may prove too much of a hairpin curve for most.
sex, lies, and screenwriters. Add in guilt, retribution, seduction, massive quantities of manipulation and you get a juicy twisted love story.
The movie always feels as if it's on the verge of a major discovery. It ends without convincing us that any such discovery has been made.
Given the ominous title of both the film and the screenplay-within-the-film, chances seem good that someone will die.
Quickly goes downhill, changing into something so dull that even its illustrious cast can't save it.
There is some ambiguity about why a final event takes place, and that's all right, but the way in which the movie reveals it is, I think, singularly ineffective.
I'm not going to spell out the collateral damage, but I found the ending cheap, contrived, and genuinely disgusting.
If you cut through Lucas’ thickets of self-reflexivity, metaphysical mumbo jumbo and banal potshots at media violence, there are three ace performances here by actors who can elevate and enliven even as mediocre a piece of material as this.
Acclaimed playwright Craig Lucas' directing debut is a flawlessly acted adaptation of his own stage play.
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