| Nea Kinisi | Release Date: July 21, 1995 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
17
Mixed:
0
Negative:
0
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Critic Reviews
The ingenious narrative, told from differing perspectives and incorporating tales within tales and teasing elisions between film and reality, is actually informative about the nuts and bolts of shooting a movie, and not only as a catalogue of technical disasters - through the shamefully under-rated Keener, we get a real insight into screen acting and the way fatigue, memory, stress and surroundings can take their toll. Hers, however, is merely the finest of a whole host of spot-on performances. A treat.
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Constructed as a sequence of deepening, worsening bad dreams, Living in Oblivion sometimes runs the risk of feeling arbitrary, and the film loses some steam in its final section. But mostly it's a smart, funny send-up of the trials and joys of filming on big egos and low budgets - subjects that writer-director Tom DiCillo and his collaborators presumably know first-hand.
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Everyone in the cast is terrific, including Dermot Mulroney as Wolf, the beret-sporting cameraman who thinks he's a genius but can't seem to stop screwing up shots, and Wanda (Danielle Von Zerneck), a tough-talking assistant director who gets weak in the knees whenever Chad gets close. Best of all is Buscemi, a wonderfully offbeat, edgy performer who has appeared in such independent films as Mystery Train and Reservoir Dogs. He carries the emotional weight of the movie as his dream project faces impending doom, his red-rimmed, frog-like eyes threatening to burst with exasperation.
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Living in Oblivion needs more shoot-the-works outrageousness. But even if it thins out, it has an engaging spirit, bright energies and a wry feel for the clashing agendas on the set filled with edgy, starry-eyed pit bulls trying to convince themselves that what they're doing is a career move. [21 July 1995, p.46]
Though Living in Oblivion may sound like a one-joke movie, the pleasure of the endeavor is that it has no trouble holding your interest without feeling repetitive. Mark it down to the excellence of the acting, including the smallest roles, and the amusing and accurate way the ambience of bargain-basement filmmaking is captured.
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Structured in three beautifully paced, keenly observed acts, Living in Oblivion is that rare picture that leaves you gasping in disappointment at the end - gasping, that is, because it's over and you don't want it to be. [04 Aug 1995, p.05]
Living in Oblivion is a hip, funny, at times oddly sweet little movie that suggests Tom DiCillo has a bright future. [11 Aug 1995, p.3E]
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