Has neither hero nor villain, only humans. Beyond imperfect, they are complicated thinkers, lovers, dreamers, and performers.
The Dying Gaul (2005)
Tomatometer
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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
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.
The Dying Gaul begins with a Herman Melville quote: 'Woe to him who seeks to please rather than appall.' Let them serve not as words of wisdom, but of warning.
sex, lies, and screenwriters. Add in guilt, retribution, seduction, massive quantities of manipulation and you get a juicy twisted love story.
[A] combination of pretentiousness and banality...Lucas has wronged not just Clarkson but all of his fine cast--and us along with them.
[E]xcept for some problems in the middle act, the movie is easy to swallow.
Like minimalist composer Steve Reich's prickly, tense music on the soundtrack, the movie itself is too often too intellectual, experimental and abstract.
The crackling, nasty dialogue is entertaining in the way it is in All About Eve or Valley of the Dolls, and the actors are superb, even if Tharthgaard doeth overdue the lithping a bit.
Lucas' insight into the subtleties of interaction -- and the churning depths that those subtleties suggest -- is of a whole other order than that of most film directors.
Scott, Sarsgaard and Clarkson are quietly ferocious with Lucas' mannered dialogue.
The movie doesn't completely please, but more disappointing is that it no longer aims to appall, either.
I'm not going to spell out the collateral damage, but I found the ending cheap, contrived, and genuinely disgusting.
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.
Ultimately settles into the whip-smart independent it was meant to be.
It remains entertaining throughout, which is something of an inside joke since the story ridicules films that try too hard to be commercially viable.
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