The Shape of Things Review
by Jon Ridge (the_abyss AT attbi DOT com)May 13th, 2003
Efficient is the best word I can think of to describe Neil Labute's THE SHAPE OF THINGS. It has a point to make, and finds a way to make it without ever really getting very deep. There are numerous discussions about relationships and all things having to do. The dialogue is sharp and intelligent. The ending - while not hardly as surprising as it thinks it's going to be - does pack a visceral punch. But, the effect isn't lasting. It will strike up a gender debate afterward, sure, it's designed to. And you won't remember the conversation in the morning.
The delectable Rachel Weisz (dressed-down and h.o.t.) plays Evelyn, an art major who captivates an awkward museum employee, Adam (Paul Rudd), one day as she is about to spray paint a display. He asks her politely not to ruin his day, and I liked her response: "I wasn't planning on it, but I'm not completely against it, either." She's clearly a troublemaker. And, a turn on. It would be quite easy to fall under the spell of any woman who'll get genuflect and lick your thigh in a public place, but we get the feeling she has this guy the moment she abused her museum privileges.
Several dates later, Adam has gone from chubby and muss-haired to stud. Evelyn is to blame (in a good way), though neither of them acknowledges that. She suggests this or that to Adam, and he does it, no questions, like a puppy desperate for attention. Which he is, of course. Evelyn sees cosmetic potential in the scruffy Adam, and dives right in. As a project? Because she truly cares? We sense she's calculating. Opinionated, most definitely. Evelyn tests people; some have their patience tried and can't handle it, and lash out. To which she simply responds, "We're just talking." This is the sexiest I've ever seen Weisz; she affects a sort of smoky, almost Jennifer Tilly-sounding tint in her voice. And, I couldn't help but agree with her in thinking there's nothing worse than indifference when it comes to how someone views art.
I enjoyed not knowing where I was being lead by SHAPE OF THINGS. It's clear where the film is headed, but the way it's paced there doesn't appear to be any loft agenda, i.e. no particular story to tell, so it's easy to sit back and listen to these people talk. The surface can't necessarily always be trusted, of course: like people, we observe it in a certain light, we're told things, but do we ever really know with any certainty what's going on behind the expression? Is it possible to really know a person? I won't say if the film argues in favor of a yes or no to that question, but the idea is intriguing. As Evelyn states again and again, life is subjective, anyway; however we perceive things, then that's the way they are. Doesn't make a difference if something wasn't true, in that if it was for you, at the time, then where's the lie? Regardless what you happened to find out later.
I wish THE SHAPE OF THINGS were even more stinging and harsh than it turns out. Even with the almost surreality of its conclusion. The film lacks an extra added level of viciousness, perhaps because it would not have been as palatable for mainstream audiences, I don't know. Or, maybe the outcome has enough moral cruelty, and I just wasn't that interested in Adam to really give a damn. Props, however, to Labute's script for keeping Adam essentially the same guy before and after his make-over. And, Rudd plays the hell out of him. I don't know.. there was one choice he could have made, be acceptant and attempt to begin again, that would have been just utterly demeaning. I was waiting for it. Didn't get it.
THE SHAPE OF THINGS is provocative, but light weight.
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