TrueJoshNight Truly Dreadful Film

Borserie it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

Clone42 Edmond is a deeply introspective work exploring divorce, racial bias, and sexuality, all swirling around 'Edmond' - A white, urban, working "house husband", who suddenly leaves his long term marriage and all of its tired trappings due to a coincidence at a fortune teller.If you haven't been deeply hurt, if you haven't been blindsided, if you haven't questioned your place in the world without your long-term partner beside you, then you have absolutely no place commenting on this film.Edmond has a 'mixed' reputation because of this. Many couples, snuggling up with their junior high lovers on Netflix, leave 5/10 reviews (the lowest it could possibly receive, given the film's knock-out performances from an all-star cast). If, however, you are among the suffering, Edmond will speak to you.It's no wonder that Edmond had to be produced independently, and received no mainstream exposure, despite the A-list actors: It is racist, it is explosive, it is offensive. It puts academy award winning films to shame. What an embarrassment for the 'industry', that a powerhouse film like this could be made outside of Hollywood. It shows what Hollywood has become: A watered down, lowest-common-denominator paddle-pool (Who wants more Marvel!? Happy meals for everyone!!!). The cast is proof enough that many "professionals" believed very strongly in David Mamet's writing.Mamet wrote the script through the lens of divorce, and through this lens it is best seen. If you don't know the pain and rejection of divorce - the unreality and loneliness that it suddenly abandons you in - then leave your clean shoes at the door. Edmond has no place in your life.For me, and others like me, it is essential.

Mark Nielson this movie sucked. Mamet, as he always does when he's out of ideas, just has people get killed and beat up. no honest symbolism but plenty of phony philosophical nonsense bandied about. Mamet hates you and wants you to know it.Macy does what he can with the extremely stylized lines he's given. Mamet wants him to live in some kind of dream world while everyone else lives in a more realistic world. Initially the film has some excellent visuals but becomes something of an unpleasant TV show by the first twenty-five minutes. Macy's character goes from strip club to whore house to strip club to whore house complaining about the prices of the services offered. We can sort of imagine this as a night in the life of Mamet, but not of Macy's character. This is a common theme of Hollywood, i.e. murders are drawn from white collar populace. The point of the film is lost except Mamet clearly wants us to not enjoy the film. Sorry Mamet. Tell us why first. But better yet, please defenestrate yourself off the top of the Empire State Building.

markandkarenfitz I'm a man, so forgive me for saying at the outset that Julia Stiles is simply gorgeous. And spectacularly great in this film.Redbox sent me to this one, right after watching Oleanna. I can't believe I was unaware until now that it was also a Mamet piece. But it makes sense because there is the same thematic notion in so many of his works: a determinism of events, in a given environment and precipitated by circumstance. I am not at all sure that Mamet makes "statements" about social issues. I think he really just creates these fantasies about fate ebellished with the best dialogue imaginable. Like Glengary Glen Ross. Everyman in that play goes where he inevitably must go. And I guess by going along with him, as a spectator, we can fully empathize with him. Surely, at every step, we feel the same affects as does Edmond.Next to Travis Bickle, probably my favorite character in film was the Jack Lemmom real estate salesman. Every bit as tragic as Willy Loman.Edmond is a visceral film too. See for yourself.Did I mention Julia Stiles?

BA_Harrison After a fortune teller informs middle-aged businessman Edmond (William H. Macy) that he is 'not where he belongs', he leaves his wife and wanders the seedy side of the city to try and discover his true self. As the night progresses, years of social conditioning are slowly stripped away, revealing pent-up anger, resentment and bigotry, leading Edmond on a downward spiral that ends in madness and murder.For much of the time, Stuart Gordon's Edmond is like Joel Schumacher's Falling Down blessed with the dark fairy-tale vibe of After Hours, reason enough to seek out this brave and disturbing film from one of America's best 'unsung' directors. Sadly, this unique atmosphere is not carried through to the final credits: although the night-time scenes leading up to the murder are quite mesmerising, with stylish direction from Gordon, a bravura central performance from Macy, and excellent turns from a talented supporting cast, the film loses momentum towards the end, eventually buckling under the weight of writer David Mamet's awkward philosophising (something which belies the theatrical origins of the work).Still, the complexity of the plot and depth of the characters means that there is plenty to chew over after the film has finished, for those who enjoy that kind of thing: is our destiny pre-ordained; why does Edmond continually haggle over cash (especially when it involves having sex with Denise Richards or Mena Suvari); what is the relevance of the number 115; would you 'get on his body'? (if you've seen the film, you'll know precisely what that means); and is Edmond genuinely content with his lot at the end of the film or has he simply resigned himself to his inescapable fate—to be spooned every night by his cell-mate! Watch and decide.