By John Anderson Aug. 29, 2019 4:28 pm ET In 2002, the documentary “Cinemania” profiled five obsessives who were familiar figures to anyone on the New York film scene. They seemed to be at every screening. They haunted the art houses. They harassed ticket-takers and projectionists. They carried themselves with an air of the vaguely disturbed. And they led one to suspect that if their compulsion wasn’t film, it would have been something else. Or anything else.
That Moose’s enthusiasms will lead to tragedy is pretty apparent from the start of this quasi-horror drama by Fred Durst, the Limp Bizkit frontman as well as an actor and director. There are exceptions to be taken with Moose’s characterization by the screenwriters, Dave Bekerman and Mr. Durst: People like Moose are more likely to be victims than violent, and Moose is both. Such is the price of conflict, and drama, though some of the writing is just lazy.
Moose is a tortured character, one who knows he’s a nuisance but also has no sense of boundaries until he crosses them. The way he carries himself, with all his stress and shame bundled in his neck, his head hanging down, his eyes averted, suggests a person trying to disappear. Still, Moose demolishes the mood of whatever room he’s in. The atmosphere around him, which screams estrangement and isolation and incipient tragedy, is certainly enhanced by the cinematography of Conrad W.
🙈🙈🙈
He's become such a bore.
The real horror movie is why he will not speak out against the criminal activity of Scientology...a much more important story than his latest movie.
VinceMancini justin_halpern mattlieb
Pass... He’s a loyal family-destroying, cult scientologist.
What a headline
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