Full Frontal

You could dismiss it, as I do, as an impenetrable and insufferable ball of pseudo-philosophic twaddle. Read full review

A film so amateurish that only the professionalism of some of the actors makes it watchable. Read full review

Fails because it takes itself so seriously, and because it is itself so seriously dull. Soderbergh's straining to give us a wink -- come on, guys, this is fun -- but really it just feels like some awful eye twitch -- a spasm of yawning self-indulgence in a mostly captivating career. Read full review

Arid, self-consciously arty and emotionally uninvolving. Read full review

In this film, Soderbergh appears to judge the actors by how well they spew or swallow bile.

Full Frontal is the sort of arbitrary mess that gives experimentation a bad name. The news that the movie was shot on digital video and film in eighteen days, and that the actors drove themselves to the set and applied their own makeup, would have made a nice Sunday Times story if the movie were any good. But it isn't. [5 August 2002, p. 80]

The aesthetic of Full Frontal is as rough and grainy as the off-the-rack digital video in which much of it was shot. Read full review

"Every work of art is an uncommitted crime," Theodor Adorno once wrote. This one is more of a botched misdemeanor. Read full review

The only way a self-absorbed treatise like this can get any kind of audience (not to mention distribution) is to cast famous people in it. Read full review