Perhaps the only really ‘true’ moment in a PC-fest of a film like this is when Owen feels some guilt and shame and claims that his ‘body betrayed him.’ Since he loved the girl, and was drawn to her (as seen in digitally desaturated flashback sequences, which could have been more subtly handled, even if well filmed in fluorescent violets and reds) it is perfectly plausible that if forced on her, he could not help but be aroused. In that sense, both he and Sherry are victims of a sexual crime; one that Sherry has blocked out but which Owen is obsessed with. Yet, Anders then undercuts that notion by having Owen sob that he did not even realize it was Sherry when doing it. Huh? This is justified by portraying older brother Dan and pals as serial rapists that Owen allowed to go unhindered for years.
In the end, Owen skulks back to Los Angeles, after visiting Dan in prison for a second time, and telling him that he is writing not only of Sherry and her song, but pinning the rape on Dan, as well as getting other rape victims to speak out. Dan spits at his brother, as he leaves, and it runs down the plastic screen separating them. Yet, even this bravura moment - and Stoltz’s great performance, which brilliantly distills his character’s obliviousness to his own evil (which is far scarier than the Hannibal Lecter-like portrayals of evil most films indulge in) - is ruined by having Owen state that the reason ‘this one’, meaning Sherry, was different than all the other rape victims, was because he — are you ready? — ‘loved her.’ Well, we know that, and do not need it stated since it is hammered into us the whole film. Then, Sherry returns to the house where the rape happened, and recovers her self-esteem, and drives off with Chuck.
The screenplay was written by Anders, who also directed Gas Food Lodging and Mi Vida Loca, and Kurt Voss. It is so up and down that one has to realize that neither writer has a clue as to what constitutes a cliché. Then there is the characterization. On a psychological level, the film posits that almost all people are victims of their pasts — arrested adolescents whose lives and fates are predetermined early on, yet who seek redemption through art. Okay, that’s fine, even if wrongheaded in reality. But, for the fictive world of the film, the film violates its own rules with the trite happy ending.
Article comments
1 - b
Wow. Scare quotes around rape being a 'trauma'. That's some classy writing.
Just stumbled on this review trying to figure out what this movie is on tv. Thanks for clueing me in to the conspiracy between those damn feminists and PC black actors!
2 - Dan Schneider
They're yawn quotes.
3 - carmen
I just saw the movie and I disagree with you on many things. Being a male you will never comprehend the horror of a rape mind you a gang rape. I lived and as you call it "grew up" and though I got married had a child I can only tell yoiu one never out grows it. Though released from therapy I still have blackouts and stay away from men though I married late and had a son. My trust in life is now taking the course of what I never had done since the rape. I understand Cherry and I am glad it was made it does help many of us who can't go back and face the horror as she did. one may 'move on" but that "experience" always catches up to you and the nightmares come and go throughout ones life. Many of us do not say anything cause many do not want to listen to such a thing that always is out there and I have spoken and many care not. So why speak of it. and one walks away also not wanting to hear .... I thank for this and hope it opens up to many and who knows these husbands or boyfriends friends family or whoever can listen and someday understand...
4 - Stéphane
I'm french and i'm not agree with you.
It's a ggod stuff and i'm think that Don Cheadle especially in his las scene with Gabriel Mann in the kitchen is very big.
Quant au violen lui même nul besoin d'être une femme pour comprendre à quel point cela peut être un acte dégradant et pertubateur et c'est à chacun de réagir ou de non réagir.