In fact, Roos comes much closer to making his Storytelling than his Magnolia, although it must be said that if Storytelling is the BEST film yours can be compared to, you probably need to seek out some new points of reference. Surely the freedom of independent film is not limited to focusing on failure, humiliation, and "taboos." Now, I'm all for shattering taboos, but only if the taboos in question are actually taboo. Homosexuality! Abortion! Infidelity! When were any of these actually taboo, like 1396? Somehow, though, Roos consistently draws good actors into his films, and they seem to relish the opportunity to stretch their legs on the "dark side" or whatever. Maggie Gyllenhaal is good, which is no real surprise. What is surprising is that Tom Arnold—star of The Stupids—is actually outstanding, revealing an emotional range that was probably always there, but was buried under the burden of his popular image. Now that he has no popular image, watching him actually act is a revelation. Jason Ritter is Arnold's gay son who is seduced by Gyllenhaal (she sexily allows him to do her from behind … thoughtful), and he's pretty good in this, although I just don't like that kid for some reason. Maybe I'm still mad at his dad for dying and leaving the world without LAUGHTER. Lisa Kudrow tosses off the same self-conscious schtick she always does … at least she gets hit by a car at one point. Too bad she doesn't die, though. Laura Dern continues to wash away any cultural memory that she was once considered "hot" with another dour performance as an angry Lesbian. I wonder why otherwise good actors would choose to participate in a movie like this. Is it simply to be able to "play against type" or "broaden their boundaries," or are they just stupid, needy showoffs? Hm, I guess that's probably what they are … I wonder why I've given Hollywood actors the benefit of the doubt for so long. Maybe it's because they're so good looking. The interwoven storylines are idiotic, the sort of shit that angry theater-nerds write in high school, trying to tackle "hypocrisy" or whatever, and the self-conscious dialogue is beyond contrived. When all is said and done, the blooper reel is MUCH better than the movie itself. Aren't audiences beyond sick of these sour, acidic, heartless, gimmicky indie flicks by now? Happy Endings plays like a bad season of "Six Feet Under" condensed into one relentlessly foul, though undeniably well-acted, movie. I just wish artists and audiences alike would stop confusing misanthropy with truth.
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