Five years since "Pulp Fiction," and the children of Tarentino keep on coming. But with its overemphasis on dialogue and almost no action, this talky, static misfire won't go anywhere. Even brief appearance by C. Thomas Howell as a sadistic gang boss isn't likely to help ancillary sales.
Five years since “Pulp Fiction,” and the children of Tarentino keep on coming. But with its overemphasis on dialogue and almost no action, this talky, static misfire won’t go anywhere. Even brief appearance by C. Thomas Howell as a sadistic gang boss isn’t likely to help ancillary sales.
Film opens with a shot of Earth as we hear a whiny, comic voiceover about whether people are inherently good or evil. In credit sequence, suited gangsters pursue a truck, which Howell blows up with a bazooka while “Ave Maria” plays. Film shifts again, sans context or explanation: For the next hour or so, “The Glass Jar” consists of conversation between Tony (Anthony Crivello) and John (John Kassir), who are waiting for some sort of phone call while watching TV. They discuss hockey, dogs, slurs against Italians and myriad other subjects. A few minutes of this might be mildly amusing, but this is no “My Dinner With Andre.” Tech credits are adequate, but dramatic lighting and constantly moving camera can’t hide fact that pic is little more than two not very interesting people sitting in a living room.