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Todd Solondz's newest debacle drips with contempt for his audience, his characters and his critics. With "Storytelling," Solondz's 15 minutes would appear to be -- finally, thankfully -- up. But in "Storytelling" that attitude is so clearly Solondz's shtick that getting offended by it would simply be rising to the predictable bait. Advertisement: More than any other filmmaker, Solondz represents the worst trend of American indie filmmaking over the last 10 years: the movie as freak show.
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A Brunette’s Blues – WWD

DVD Review Storytelling The latest salvo in Todd Solondz's generously financed revenge on the world, Storytelling continues in the anti-humanist vein of Welcome To The Dollhouse and Happiness, peeling away a few more layers of ugliness to reveal how rotten people are at the core. Intended as a poison-pen letter to his detractors, the film dispenses the director's usual bile in the form of a disingenuous autocritique, launching a preemptive strike against his critics while pretending to implicate himself in the process. The sneaky logic behind Storytelling is that if he's the first person to call his work glib, facile, condescending, and hateful, he can spare others the bother. But like a meaner cousin to Kevin Smith's Jay And Silent Bob Strike Back, Solondz's self-indulgent meta-movie unpacks an empty suitcase, showing clear signs of creative exhaustion only a few films into his career. Divided into two lopsided sections, "Fiction" and the longer "Non-Fiction," Storytelling looks at the destructive consequences when real life is processed into a narrative.
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Storytelling

The moral dilemmas of Storytelling. I hate it. Or is he an inveterate misanthrope who sneers at his caricatured protagonists with a marked lack of empathy? Storytelling, which is most intriguing for its merciless self-scrutiny, demonstrates that there is more than a certain amount of truth to both assertions. The focus is on Vi Selma Blair , a student at a college where the manicured lawns and antiseptic buildings are indistinguishable from the landscape of an industrial park.
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January is where the major studios dump their mistakes. Kubrick inserted little boxes to obscure the bumping of uglies. Solondz has always sided with outsiders, such as those from the New Jersey burbs that spawned him. Fear, Anxiety and Depression made an apt title for his debut film. For Solondz, cruel action invariably springs from the placid face of normalcy.
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