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Review and Roundup: In Defense of Paul Schrader's Misunderstood 'The Canyons'

Reviews
by Ryan Lattanzio
August 1, 2013 3:54 PM
3 Comments
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Lindsay Lohan in "The Canyons"
Lindsay Lohan in "The Canyons"

"The Canyons" never had a chance. 

Several things led people to make up their minds about it before there was even a release date. The New York Times Magazine profile of the film's production flayed star Lindsay Lohan from the inside out. The frustrated remarks of director Paul Schrader and screenwriter Bret Easton Ellis didn't help, nor did the film's repeated rejection from festivals. But the movie deserves to be checked out with an open mind. This low-budget thriller, while brazenly flawed, is never boring. And for the record, Lindsay Lohan, terror-stricken and hanging by a thread, has never been better.

On any other film, the plague of misfortune that befell "The Canyons" might seem like an elaborate trick, a publicity stunt conceived to cook up controversy and fill seats. But Schrader's dogged refusal to conform to the expectations of hype and his earnest commitment to the $250,000 project lend this brouhaha real authenticity. Remember, this is the screenwriter of "Raging Bull" and "Taxi Driver," and the director of 17 major films.

A lurid melodrama about beautiful people doing very bad things in the unforgiving environs of Hollywood, "The Canyons" is not a total success. It's an uneven but near-great film, boasting serious talent, and along its nihilistic path it casts an artfully anesthetizing spell. Like the film's infamously trying production and its central character Tara -- who Lohan acts the hell out of -- "Canyons" careens wildly from one extreme to the next. 

But it isn't just so-bad-it's-good kitsch. "The Canyons" ultimately is good, hard to admire, yes, but harder to look away from. And like another misunderstood, ennui-soaked arthouse indie in current release, Nicholas Winding Refn's "Only God Forgives," "The Canyons" could wind up as a midnight movie and mythological cinematic artifact.

Christian (James Deen) is a spoiled trust fund brat who indulges in producing B-rate slasher movies, which star his live-in actress girlfriend Tara (Lohan). In the ethereally lensed opening scene, they're at dinner with fellow wannabe actors Gina (Amanda Brooks) and Ryan (Nolan Funk). Everyone's on their smartphones, barely invested in whatever inane conversation they're having, when Christian tunes in to the chemistry Tara and Ryan appear to be telegraphing. Tara claims she's never met him before, but we eventually learn that Tara and Ryan do in fact know each other: they have history. When Christian, devoutly misogynistic and devoid of conscience, confirms this information, he goes out for blood, one-by-one denuding the identities of everyone in his lifeless inner circle.

Though he keeps her on a leash, Christian won't admit that Tara -- love-starved and loyal, but knowing -- is his girlfriend. He says it's more fun to keep things complicated. By this he means bringing outside parties into their sex life, strangers he meets on a dating app. Tara, eager to please, indulges Christian's fascination with threesomes and goes as far as letting him film the encounters.

3 Comments

  • shelly | August 1, 2013 3:33 PMReply

    it's true what they are saying on twitter. calling this film "micro-budget" is retarded

  • Shelly | August 1, 2013 6:12 PM

    You are correct. That's a terrible term. I should have said "misleading". 250k isn't even SAG ultra low. It's modified low. When you and your friends are making films for 10k and elbow grease and you read something like that it can feel a little soul crushing. I apologize.

  • Anne Thompson | August 1, 2013 4:00 PM

    While I don't like the way you make this observation, I will grant that a $250,000 budget, which some would consider small, is not micro. It is low-budget.

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