The Shape Of Things
Deception. Hate. Cheating. Heartbreak. For some, these are aspects of life and relationships best not explored in films. For all others, there is Neil LaBute, a writer/director who's fearless when it comes to exploring the darker side of human nature. LaBute exploded onto the scene in 1997 with the controversial In The Company Of Men, a film about two young men who play a devastatingly cruel trick on a deaf female coworker. Subsequent efforts such as Your Friends And Neighbors and Nurse Betty showed LaBute continuing to push the envelope while enlisting A-list actors such as Morgan Freeman, Renee Zellweger and Ben Stiller.
His latest effort, The Shape Of Things, shows LaBute back on top of his game. Paul Rudd plays Adam, a shy, nerdy college student who works part-time at a local museum. While working one day he meets Evelyn (Rachel Weisz), an attractive graduate art student who surprisingly takes a liking to Adam. The two begin seeing each other, later embarking on an ill-fated double date with Adam's former roommate Philip (Fred Weller), a cocky jock who delights in mocking Adam; and Jenny (Gretchen Mol), a fellow student who the gregarious Philip "stole" from Adam.
Before long, Adam has fallen hard for Evelyn, who fulfills his every sexual desire and slowly begins transforming his physical appearance. She changes his hair, gets him to lose weight via a new running regiment, overhauls his wardrobe and more. As Adam's physical transformation progresses, he changes emotionally as well, gaining a newfound sense of confidence. His new demeanor catches the attention of Jenny, and flirtation ensues. From there the games of deception begin, and it all builds to a brutal climax in which more than one character experiences the ultimate in humiliation.
It sounds like the potential stuff of soap opera. But LaBute is the rare filmmaker who strikes a raw nerve with his words and cinematic style, and he uses the setup to make one stingingly perceptive observation after another about art, humanity, and relationships. The film, adopted from LaBute's play (which starred the same actors) sometimes feels stagy, but with dialogue this sharp, who's complaining?
Each actor is standout. Weisz (The Mummy, About A Boy), the most well known of the crew, is surprisingly good, even delivering lengthy monologues about the nature of art with ease, and looking stunning every minute. Rudd, who had a long-running role on "Friends," makes the transformation from nebbish nerd to sharp-dressed stud with impressive ease. Weller also makes a strong impression as the classic slimy-male LaBute character. The solid Mol, another future star, rounds out the impressive cast. My only complaint: Where's LaBute regular Aaron Eckhart, one of my favorite actors in the biz?
Stellar acting aside, the movie belongs to LaBute, who with each of his films continues to show that's he one of the most unique voices in American cinema. It may not be perfect, but it's still exciting as all hell to watch LaBute climb out on a limb and take chances. This is a film, like LaBute's incendiary debut In The Company Of Men, that's guaranteed to divide audiences and promote debate. I mean, where else can you see a film where the lead actress flips off the audience during a pivotal scene? Whether you're flipping her the bird right back or cheering her on, The Shape Of Things is one film you don't want to miss.
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A few cocktails usually go well with some old-fashioned emotional brutality.
Director LaBute isn't know for cutesy sugarcoating when it comes to showcasing the battle(s) of the sexes.
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