The Perfect Ratio
Note: This review appeared in slightly different form during the Tribeca Film Festival.
I saw The Wackness last spring at a special screening held for the critics participating in the Moving Image Institute last week. Afterwards, Sony Classics president Michael Barker was asked about critical response to the film thus far. Barker disclaimed that “most major critics” hadn’t yet reviewed the film, but then said something surprisingly candid about the makeup of the film’s detractors. “What’s the demographic of the critics who don’t like it?” he began, starting a statement with a question in expert post-Robert Evans mogul style. “Female. Single. Mothers with teenage kids––they don’t like the movie.”
Who ever is doing research over at Sony deserves a raise. I fit just two of those descriptors, and I don’t like it, either.
Maybe it’s true that even professional critics struggle to get beyond their own natural demographic biases. A certain (very young, very male) segment of the film blogosphere lashed out at Sony for buying The Wackness towards the close of Sundance––not because they didn’t like the film, but because they loved the film so much that they were moved to protect it from what they saw as the risk of a mis-managed mainstream release. I thought this campaign was absolutely inane at the time—in the virtually non-existent narrative buying climate of Sundance 2008, the boys should have been happy that their pet project was picked up at all––but having finally seen the thing, I’m at no loss to explain why those writers have embraced this film. With its full-on, fully uncritical glorification of adolescent male self-indulgence and permanent immaturity, The Wackness is a kind of cinematic embodiment of certain tendencies that make the sub-AICN movie web go round.
A bunch of actors (including Natalie Portman, Ethan Hawke, Hayden Christensen, and Olivia Thirlby, aka The Other Broad From Juno) will 
