Pluskylang Great Film overall

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Allissa .Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

fedor8 FU was made during America's golden age - as far as indie films are concerned - which was the first half of the 90s. The U.S. indie film "industry" is pretty much dead right now, this being partially due to festivals such as Robert Redford's Sundance, which seeks to only promote overtly political i.e. left-wing movies and their cowardly makers (cowardly because there is nothing easier than to go with the PC flow, taking the safe route instead of creating something fresh and unrelated to social or political issues). Redford and his cronies were never as interested in movies as a form of entertainment as much they see it as a propaganda tool, a way to influence the populace as much as they possibly can, so that everyone would vote Democrat, and then eventually for Communists. (Don't ever think Redford has given up his red dream! They never do. There is no cure for that affliction, better known as "utopiania dementius".) That is not to say that Jost's unique little film is apolitical; after all, this man spent 2 years in jail for refusing to fight the Vietnam war. FU is very much left-wing, but there are only 2-3 moments of overt political vomitus. The first one is Swain's long and childish ramble about the evils of money, the other one a patriotic, happy-go-lucky America song, played while preparations are being made to execute the movie's couple. This latter segment was annoying because it cheapened the brilliantly filmed shots that followed. The song was Jost's way of saying - in a none-too-subtle way: "Hey, everyone, America is decadent because we still allow the death penalty!". This lack of subtlety sticks out like an idiot in a science convention. I also found it absurd that both Carlin would be handed a death sentence; in reality this would have been highly unlikely. But I guess Jost has a bone to pick with America; he must be a very, very frustrated, bitter man...However, what follows from there is one of the 90s highlights. Carlin's narration about the process of dying and then the state of being dead is the best description - or an attempt at a description - of death I'd ever seen anywhere. The movie very appropriately ends with this sequence, which is beautifully shot, giving FU one of the best endings you'll ever see. Jost had set up Carlin from the very beginning as an amazingly empty-headed bimbo, her narration often being a cause for amusement, but he uses her to make some clever or at least interesting observations on occasion, as well, this being nowhere as true as during this "outro". Her final words give away Jost's atheistic beliefs, but there is an unusual note of optimism there, something that is hard to describe.Carlin is excellent as the almost zombified version of a clueless all-American woman. Her line-delivery is totally one-note, and yet she is almost never dull, even when she talks about the dumbest/irrelevant things. The tone of her voice certainly contributes to her comedic success. Swain is also quite good, but Carlin steals this movie. The redwoods scene, coupled with her infantile cries of joy and interesting music, is another highlight of the movie. If you're looking for a unique (female) character, Carlin's is as good a choice to observe as any. Very effective is a scene in which Swain drives, while Carlin sits next to him, reading a trashy romance novel. Her facial expressions are wonderful, especially her smug grin after she finishes servicing Swain orally.FU is very slow, static, with very long shots, and experimental. If you're a great fan of the Spiderman movies, you might wanna skip this one.Then again, I have no idea how anyone will find a copy of this movie - short of contacting Jost himself. I doubt this exists on DVD, and I very much doubt many channels would play it. There is a pornographic scene in the movie which was quite unnecessary.

bwanadj This is a great film - almost one of the many that I would like to have made (if i was a director and not a coward...). I had my leg broken in 2000 and was having very irregular sleep cycles. Waking up at 3 o'clock late night, this had been going on TV for 25-30 min. I was stricken by the the first moment and rose up with difficulty to find an empty tape to record it and so i only have half of it. It's amazing how rich can a film like that be - i used to throw sound bits of it over my DJ-sets and radio shows and always someone would ask me about it... I wish i could find it and see it in whole - HELP ME, film-freaks of the planet!!!

eilon elikam that's the movie that "Natural Born Killers" wanted to be, without any success. probably 1/100 from the Oliver Stone budget, and so much better, so much REAL, so muck authentic... that movie is not for everyone's eyes, it has a very slow and disturbing mood, with admirable, obscure - camera shots and no-budget video art techniques. the story of one outlaw that just got out of state prison called Rickey-Lee, and his -hard to believe- naive, girlfriend Bath-Ann. he is the almost perfect anti hero, a white trash smart guy, with anger and desperation. she's a no-life waitress, having her "good times" in remembering her high school years. they both ride to the American dream - California. a journey filled with heart-holding moments, hatred and evilness. frame up is one movie that i'll never forget. that's not the stuff that you see, go to sleep, and forget in the morning, this will stay and hopefully will make you laugh or disturbed...

Sanjuro-13 I really enjoyed watching this film. The story deals with a couple on the road who try to grasp at the mythical American Dream. The film walks the line between being hilarious and moving, and I was left with an odd feeling at the end of the film. At first I found the acting strange, but I began to see what the actors were doing, and they were doing it very well. The performances are very engaging, and they are skillfully subtle. The film has a cast of 3 speaking roles and you can tell by the techniques employed that this is a true independent film. Like other indies such as Tarkovski and Jarmusch, Jost (who does just about everything behind the camera), is a fan of the long take. Several of the shots in this film are static and you're forced to stare at an image for a long time compared to most Hollywood films. This is not to say that the film is boring, because it's exactly the opposite. The dead-pan dialogue is delivered in such a way that you're caught of guard by some of the creative lines in the film. "What? What did he just say? Atomic what?" As well as using long static shots, Jost also uses stop motion animation in conjunction with live action, and split screens abound in the film. Even if you don't love this film, at least you'll come away from it having seen something new. This film is inspiring to anyone who is tired of the usual slop that Hollywood tries to force upon us every year. It's ironic that the films that are the most creative are often the most hard to find. If you can get your hands on this film, by all means do so.