Rating: 
Summary: On the prowl....
Review: .... with Roger Dodger is like spending a night with a "player": you feel slimed, angered, bewildered, and entertained, at the same time. By the end of the film, you want to take a shower and crawl into bed to get some rest.The Roger of the title is a womanizing scumball brainiac whose speech is as highly controlled as his love life is absolutely out of control. This shark loves the ladies, to a fault; by mentally assassinating them before making any kind of move, he ruins his chances continuously. You can see this routine might of work with younger, unsuspecting college girls, but as Roger is aging, the act is failing. Ironically, his nephew shows up to seek advice about the ladies, so Roger spends most of the film poisioning this young lad's mind about the ways of the love world, possibly validating the claim: "Those who can't anymore, teach." Roger is expertly played by Campbell Scott, a highly undervalued actor in cinema today. He walks the fine line between making Roger just scumbag enough to abhor him, and brings a remarkable vulnerability to him at the right times. Equally compelling is Jennifer Beals as a temporary seductress to nephew Nick, and yes, Elizabeth Berkley shines (it's time we get over Showgirls). The successful script, combined with the great cast, make for a great movie experience. One problem I have is with the overuse of the "shaky camera", which the filmmakers immediately defend in their commentary and bonus features tracks. When I first saw "Roger Dodger" in the theater, I almost felt, fearing motion sickness with the shaky cam. But soon, I fell into it and didn't notice it as much. At home, the reaction is similiar, but somehow, more jarring. Some scenes are almost unwatchable with the shakiness. I appreciate the reason why they chose that method, but find it to take away from the impact of some scenes. "Shaky cam" is okay, but sometimes, this is "earthquake cam". Overall, Roger Dodger carries well. As secrets are revealed at the end, and the real truth comes out, it somehow seems right. Kudos for this bravera film, and looking for more from this cinematic team in the future.
Rating:
Summary: On the prowl....
Review: .... with Roger Dodger is like spending a night with a "player": you feel slimed, angered, bewildered, and entertained, at the same time. By the end of the film, you want to take a shower and crawl into bed to get some rest. The Roger of the title is a womanizing scumball brainiac whose speech is as highly controlled as his love life is absolutely out of control. This shark loves the ladies, to a fault; by mentally assassinating them before making any kind of move, he ruins his chances continuously. You can see this routine might of work with younger, unsuspecting college girls, but as Roger is aging, the act is failing. Ironically, his nephew shows up to seek advice about the ladies, so Roger spends most of the film poisioning this young lad's mind about the ways of the love world, possibly validating the claim: "Those who can't anymore, teach." Roger is expertly played by Campbell Scott, a highly undervalued actor in cinema today. He walks the fine line between making Roger just scumbag enough to abhor him, and brings a remarkable vulnerability to him at the right times. Equally compelling is Jennifer Beals as a temporary seductress to nephew Nick, and yes, Elizabeth Berkley shines (it's time we get over Showgirls). The successful script, combined with the great cast, make for a great movie experience. One problem I have is with the overuse of the "shaky camera", which the filmmakers immediately defend in their commentary and bonus features tracks. When I first saw "Roger Dodger" in the theater, I almost felt, fearing motion sickness with the shaky cam. But soon, I fell into it and didn't notice it as much. At home, the reaction is similiar, but somehow, more jarring. Some scenes are almost unwatchable with the shakiness. I appreciate the reason why they chose that method, but find it to take away from the impact of some scenes. "Shaky cam" is okay, but sometimes, this is "earthquake cam". Overall, Roger Dodger carries well. As secrets are revealed at the end, and the real truth comes out, it somehow seems right. Kudos for this bravera film, and looking for more from this cinematic team in the future.
Rating:
Summary: Impeccably well-written, well-made, but...
Review: ...somehow it just misses the "exceptional" category. The camera work and cinematography are flawless, the dialogue is razor-sharp and often bitingly insightful, the music is superb, the actors are well-cast and well-directed. There are no glaring flaws or shortcomings...and even though I was certainly absorbed, entertained, and even had a few light bulb moments, when it was over I just wasn't completely satisfied. If "Roger Dodger" were food, I'd want to add a lot of garlic or chillis or salt or SOMETHING to put more of an *OOOOH* into it. A note to those who are taken in by the advertising blurb claiming that this is a Cassanova's Handbook sort of movie: it isn't. Campbell's character doesn't really show his nephew all that much about what comprises successful womanizing; he only gives the boy a glimpse into his own hit-and-miss attempts therein. Meaning he's really a wannabe womanizer, further along than most because he's an excellent talker with zero self-consciousness, but still fails because women still see through him and cringe away. A truly masterful womanizer gets seen through all the time but gets away with it anyway; the women he picks up knows they're being conned---and don't give a damn. That said, before seeing this I had almost forgotten just how drop-dead gorgeous Jennifer Beals truly is...that raises its score from 3-1/2 starts to 4!
Rating: 
Summary: Well-Written, Superbly Executed, Impossible To Not Finish
Review: A dialogue-driven masterpiece, "Roger Dodger" is a sharp and intelligent investigation of the male ego and the women who try to resist it. As for some of the criticism about this being a 'guy film', nobody- not independent film or Hollywood- could get away with making a comedy that merely capitalises on women for the foundation for the humor. It would be both humiliating and despicable. Contrary to some people's reactions, I don't feel at all that Dylan Kidd's kick-ass debut is a guy film- for all of Roger's theories of manipulation, the film never glorifies nor gratifies his character. There is clearly a lot for both men and women to enjoy about this film. The film has the faint odor of indie-kitsch and camera snobbery that tend to plague indie film, but the 'risks' that Kidd takes often cleverly serve the story well (the shaky-camera effect is dizzying, but it quietly creates a more involving experience for the viewer). Roger Swanson, performed effortlessly by Campbell Scott, is a cynical thirty-something advertising exec who thinks that he has found the way into any woman's skirt. Scott belts out the script like the supreme bullsh*t artist that Roger is, every speech polished to perfection. Early in the film, his boss and secret lover (who is quite a bit older than he), played by Isabella Rossellini, tells him that she doesn't want to see him outside of work anymore- here is established a dent in Roger's ego that echoes throughout the movie. One day Roger's 16-year-old nephew Nick (Jesse Eisenberg) randomly shows up at the office, and Roger takes him out to dinner. When Nick, who comes from a divorced household and lacking male guidance, nervously expresses his youthful angst and curiosity about the opposite sex, Roger's narcissism sparks the desire to show Nick around the city, and coach him on the art of success with women. The night of conversation and debauchery that ensues is both hilarious and sobering. Roger is essentially the only character in the film and Nick acts as an inflection point for the story. Roger sneaks Nick into a classy midtown bar and introduces Andrea and Sophie(Elizabeth Berkley and Jennifer Beals) to him. Nick, under Roger's pressure, thinking he will simply embarrass himself, makes the effort to win the ladies's affection; adversely, they are both intrigued by Nick's innocence, charmed by his naïve wit, and delighted by his honesty. The kid's naivete serves as a mirror for the others to examine their own attitudes, and Roger subliminally finds his nephew increasingly difficult to corrupt through sheer force of will. Although Roger's lectures for Nick are uproariously funny, they aren't always the best advice for a teenage virgin, and Nick's honesty and sense of decency are crucial to his resistance. No one can say that this film is devoid of 'redeeming qualities'- for one because it is so goddamn entertaining to watch, but also because we do see a gradual transformation in Roger's character. For example, he tries to talk about college with Nick, and whether he enjoyed his visit to Columbia University. As far as establishment, throughout the film we are given little Freudian clues as to why Roger is who he is. In so many words, Roger admits to Nick his resentment towards his family- his deceased father, his mother, and his enstranged sister (Nick's mother). But at the end of the film, when Nick returns home from school one day, he finds his mother having coffee in the kitchen with Roger. Does Roger dissappear and become a missionary? Certainly not. In the final scene we are thrust right back into the character of "Roger Dodger"- sitting with Nick and his buddies in their highschool cafeteria, the budding young virgins are utterly enamored with Roger's theatrical lecture about women and their ways. Some things never change.
Rating:
Summary: crackling dialogue with good performances
Review: A film by Dylan Kidd The movie opens with Roger (Campbell Scott) sitting in a café with his coworkers and speaking exactly what is on his mind and the topic is women and how destructive women will be to men and a male society. This is interesting stuff and perfectly shows just how far out there Roger is and what his point of view is on life and women. He really believes what he is saying. After he is dumped by his lover, who happens to be his boss, Roger returns to his office at work and finds his nephew Nick (Jesse Eisenberg) standing there, waiting. With a little bit of prompting, Roger takes Nick out on the town with the intent on teaching Nick about women and to help Nick with his first "conquest". What we have is a mixing of Nick's hesitant, nervous innocence with Roger's scorn, confidence, and perhaps even distaste for women as anything but an object to acquire. Considering what the subject matter is, I did not expect to like this movie very much. I was surprised. The dialogue is sharp, and it is easy to see why this movie was produced, the screenplay must have been a real gem to find. Visually, "Roger Dodger" is not much to look at, but the performances and the dialogue help it to rise above what it could have been. "Roger Dodger" also co-stars Isabella Rossellini and Elizabeth Berkley. -Joe Sherry
Rating: 
Summary: ok
Review: a little slow at times. Although, i certainly wouldn't call it boring. I didn't really get the character roger dodger. I found him annoying. He'd just ramble on and on and he wouldn't really have any point or substance to anything he was saying. Then he'd run around and randomly and cruelly analyze women in attempt to pick them up. I ever never heard of a women go home with a guy cause he pick her brain well and was really insulting and rude. If they made him a smooth, slick jerk instead of psycho motor mouth jerk I think the movie would have been more fun. Or if they took one of the characters from swingers and put him in roger's place that would have worked better. Also, the camera shakes for some of movie, which is kind of annoying. Pretty original though. Ok overall.
Rating: 
Summary: A Real Timesaver!
Review: Because I only watched 30 minutes! Then I watched the rest on fast forward. The 30 minutes I watched at normal speed, I multitasked with the subtitles on, surfing between audio options (normal, commentary of director and camera guy(?), commentary with director and actors). From the start of Roger Dodger, everything screamed "film!!!" Not "story," and not "characters to follow," but "film!!!". The cameras added realism -- if you're a bobble-head. The dialogue (clever by half) made me visualize the writers with their pens and pads. And the cameos by Elizabeth B. and Jennifer Beals (best darn actress/welder ever!) seemed maybe a bit neo-Tarantino... a distraction... but by that time I was fast forwarding. (Yup, they look *real* good, keep forwarding). I'm giving two stars instead of one because there was nothing offensive, and the movie is not a cynical grab for fame or fortune. It seems to be made with good intentions. Main criticism, again: The technique and sometimes over-clever lines get between the viewer and story. And I didn't feel strongly about any character, one way or another. (The main character wasn't *that* bad). American Psycho's Patrick Bateman (Roger in two more years if he doesn't get therapy) made me feel *something*, but Roger made me blank. By the way, Roger seems like some early Bill Murray characters (SNL and Meatballs) -- the mock arrogant, pseudo-smooth, know it all... except Roger doesn't have the mock part down. (Murray may have made this film a killer comedy). In short, the movie wears its "filmness" on its sleeve, and there's not much entertainment to back it up. I must say though, for film students the educational commentaries may be right down your alley. (Glad I'm not in a film class, where I'd probably have to applaud this stuff to get a good grade). Now I can go back to watching Night at the Roxbury. Peace out!
Rating:
Summary: A Real Timesaver!
Review: Because I only watched 30 minutes! Then I watched the rest on fast forward. The 30 minutes I watched at normal speed, I multitasked with the subtitles on, surfing between audio options (normal, commentary of director and camera guy(?), commentary with director and actors). From the start of Roger Dodger, everything screamed "film!!!" Not "story," and not "characters to follow," but "film!!!". The cameras added realism -- if you're a bobble-head. The dialogue (clever by half) made me visualize the writers with their pens and pads. And the cameos by Elizabeth B. and Jennifer Beals (best darn actress/welder ever!) seemed maybe a bit neo-Tarantino... a distraction... but by that time I was fast forwarding. (Yup, they look *real* good, keep forwarding). I'm giving two stars instead of one because there was nothing offensive, and the movie is not a cynical grab for fame or fortune. It seems to be made with good intentions. Main criticism, again: The technique and sometimes over-clever lines get between the viewer and story. And I didn't feel strongly about any character, one way or another. (The main character wasn't *that* bad). American Psycho's Patrick Bateman (Roger in two more years if he doesn't get therapy) made me feel *something*, but Roger made me blank. By the way, Roger seems like some early Bill Murray characters (SNL and Meatballs) -- the mock arrogant, pseudo-smooth, know it all... except Roger doesn't have the mock part down. (Murray may have made this film a killer comedy). In short, the movie wears its "filmness" on its sleeve, and there's not much entertainment to back it up. I must say though, for film students the educational commentaries may be right down your alley. (Glad I'm not in a film class, where I'd probably have to applaud this stuff to get a good grade). Now I can go back to watching Night at the Roxbury. Peace out!
Rating:
Summary: Good Movie. Even Better DVD
Review: Campbell Scott plays Roger--a "ladies man" on the prowl for his next victim. Roger takes his 16-year old nephew under his wing to teach him the ropes. In the end, it just may be the nephew who does the teaching. The more I think back on it, the more I end up liking this movie. The very underrated Campbell Scott pulls off a brilliant performance. And it's hard to believe this is the debut of first-time director Dylan Kidd. His script is polished and very sharp. And although the picture is mostly dark, the colors are really vibrant. I don't agree with the shaky-cam (a technique Kidd says he'll go to his grave defending), but I wasn't nearly distracted by it either. So, the movie's good...but the DVD makes it a must-own. So many DVD's today are loaded with trashy promotional featurettes--nothing that really tells about how the movie was made. "Roger Dodger" does a whole lot better. The special features are introduced by director Kidd calling it a kind-of film-school-in-a-box. Interviews abound with all the faculty from Executive Producer to music and sound to casting director and more. Also included is the trailer, a tip sheet for picking up women (repeated here from the movie), 2 audio commetaries, and a deleted scene with optional commentary. The one throw-away feature is a guided tour of the New York locations from the movie. A real good idea for a feature gets wasted here when the hosts (actors from the movie) turn it into 10 minutes of goofing off (and no, it's not funny). Overall, a 4-star movie, a 5-star DVD.
Rating:
Summary: Smarmy Believability
Review: Campbell Scott, the true Cary Grant of the Indy Film, has out done himself as the glib, womanizing Manhattan lounge lizard. A film smoothie is always interesting for the viewing sexes because he portrays our fantasy, our comedy of manners, to a satisfying or mythological conclusion -- mutually satisfying urban hookup. Having offered the lady a drink, he amuses her with entertaining banter with ever increasing innuendo. Body language of the female kind primps above and below the restaurant table. If all the stylish buttons are pushed - success, and it's off to those prestigious Manhattan jobs in the morning. "And so the cycle of life begins anew," says Marlin Perkins.
Campbell's sixteen-year old, screen nephew from Ohio shows up to learn about women from the legend. Uncle obliges, but his one significant other, Isabella Rossellini, his penthouse-advertising boss, has just dumped the disbelieving charmer. His bitterness is taken out on the worshiping nephew in a series of women chasing vignettes. Bad uncle takes the boy to a bordello and it all goes very wrong.
The script is a work of art and Campbell delivers his lines with smarmy believability. This one is a must for couples.
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