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Party Monster (2003)
Genre: Comedies
Starring: Macaulay Culkin, Seth Green, Wilson Cruz, Chloe Sevigny, Natasha Lyonne
Screenwriter: Fenton Bailey, Randy Barbato
Producer: Fenton Bailey, Randy Barbato, Jon Marcus, Brad Simpson, Christine Vachon
Composer: Jimmy Harry
DVD Info
Release:
Jul 9, 2004
DVD Features:
- Keep Case
- Full Frame - 1.33
- Widescreen - 1.85
Audio:
- Dolby 2.0 Stereo - English
- Dolby 2.0 Stereo - Spanish
Additional Release Material:
- Audio Commentary
- Interviews - 1. Michael Ailig
- 2. Macaulay Culkin, Seth Green, Chloe Sevigny - Stars
- Behind the Scenes Footage
- Bonus Featurette
- Trailer
Reviews
It's Green who, despite his straight-man role ... steals the show, with a performance of controlled engagement with both the delights and damage of the kids' lifestyle.
It's camp, trashy and altogether too silly for its own good, only proving that 23-year-old Culkin is far from leaving childish things behind.
It's very self-aware and probably too arch. But the effortless and inventive weaving of zany surfaces with the more sobering truths below makes the film worth seeing.
Rule No. 1: If you use black humor in a film about real-life characters and events, make sure you have a feel for it first.
Culkin se esforça, mas não convence como o bissexual Michael Alig. Em contrapartida, Seth Green rouba o filme com sua ótima performance.
Never has the Manhattan club scene ever looked so tedious; this film makes a powerful argument for staying home and renting a movie.
Perhaps Party Monster’s limited distribution will keep this clunker from interrupting Seth Green's rise to the top of the Hollywood food chain.
It's the drunk-guy- at-the-party syndrome: The only one truly entertained by the clown with the lamp shade on his head is the clown with the lamp shade on his head -- or folks similarly inebriated.
Memo to Macaulay Culkin: When your latest cinematic 'comeback' attempt is a film like Party Monster, maybe remaining in career limbo wasn't such a bad idea.
The look, like Culkin's self-consciously manic performance, is all surface -- which may be the point of profiling these empty lives, but not enough reason to make us watch.
Fact-based story of drugs and death in "clubland" is boring and banal, failing in its attempt to shock and scandalize.
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