To understand “Full Frontal,” it is necessary to follow the movie-within-the-movie, “Rendezvous.” For many summer moviegoers, that is strike one against director Steven Soderbergh (“Ocean’s 11”, “Sex, Lies and Videotape”). And while the concept does click at times, it does in the end hold back what could have been a truly masterful experimental film.
The talent includes Julia Roberts, Catherine Keener, Blair Underwood, David Duchovny and David Hyde Pierce. Brad Pitt and director David Fincher sport roles as well.
Keener and Hyde Pierce, in particular, excel. Trapped in a bad marriage, Lee (Keener) is about to leave Carl (Hyde Pierce) on the fateful day of a party for David Duchovny’s Gus. The epitome of ineffectual husbandry, Carl hates his job, is soon fired for what can be described only as drinking beer out of a glass instead of the bottle.” Lee, of course, is cheating on him. In charge of terminating employees, she is truly sadistic, the role in which Keener always shines.
Lee’s sister, Linda (Mary McCormack, much better here than in “K-Pax”) is a masseuse looking for love. She meets a man online and arranges to fly to a Holiday Inn in Arizona to rendezvous.
Nicky Katt (“Boston Public”) plays an actor playing Hitler in a play. In some of the most bizarre scenes of the summer, Katt’s role of Hitler in a small community performance of a play is truly classic. When’s Hitler’s director (Enrico Colantoni, “Just Shoot Me”) suggests changes in his approach, Katt snaps and verbally abuses his co-stars and director. Let’s say he takes his role just a little bit too seriously.
In a film featuring an oddly dressed neighbor (I can’t spoil the surprise, the sight gag is just too perfect) and dogs eating hashish brownies, everything has a truly chaotic feel to it. And while it provides a great deal of humor, that’s also where the film breaks down.
Viewers may struggle to follow the film when Julia Roberts as Catherine/Francesca and Blair Underwood (Nicholas/Calvin) are filming scenes together. The film slows down completely. It’s simply not amusing to see these two otherwise fine actors in these roles within roles. Regardless of whether Soderbergh chose to use a handheld camera or regular filming techniques, the scenes would still be lacking.
Soderbergh got a good deal of mixed press for his decision to blend handheld filming and traditional cinematography, but within the confines of “Frontal” the digital/film blend can be likened to a movie featuring a foreign actor. Initially, grasping the accent is difficult, but after awhile, viewers adjust. The effect is the same here. The film is often too uneven, ranging from Hyde Pierce’s unhappy breadwinner to Duchovny’s request for a handjob.
It’s difficult to say whether the ensemble or Soderbergh is at fault, but in a film that at times is laugh-out-loud hilarious and other times awkward and dull, it is a shame to see such talent wasted.