Ellie Parker

As someone that spent 18 years in the city of Angels, I have met many Ellie Parkers. I adored this little gem, albeit low budget movie, with some of best acting one could feast their eyes on. The scene with Ellie in the car in a complete hyped up, Star Bucks frenzy, smeared with lipstick, banging her head to Blondie and madly shouting out " I wanna suck Vinnie's ####'!!!" in her New Jersey accent, had me rolling on the floor.

For those that know nothing of the dashed dreams of Many desperate Hollywood starlets, and the pure sleaze these women encounter as they try to fulfill their dreams, forget it, you just won't 'get it'. LA is a town, of big talking wannabes and 'Ellie Parker' really led you into that world with it's fake facade and empty promises. Naomi Watts just shines as Ellie Parker. She totally engulfs the screen with her magical expressions of pain, joy, angst, fear, confusion and loneliness.

I felt very empty after the final scene, just as Ellie did. The City of Angels changes you, makes you selfish, egotistical, and almost insane. Ellie knew her pursuit of acting had caused her to become a shell of a person, and as a viewer I really felt her pain.

So it was shot with a cheap camera, big deal. The messages where there, contrary to what many other reviewers said, you just had to be sensitive enough to pick them up.

This film really transported me back to LA, and made me shudder, thanks 'Eliie parker' for reminding me why I left!

The movie has a depressing overtone as the main character "Ellie Parker", struggles to find her identity after plodding through various auditions. While the film quality isn't great, Ellie still manages to persuade the audience to feel for her struggles while she shuttles between auditions and the people who try to take advantage of her. It is perhaps one of the least glamorous roles that I have seen Naomi Watts play, but she still acts with the same conviction although sometimes it seems a little annoying and over-the-top. While some parts of the movie seem overly dramatic and a little unbelievable, it still reflects the versatility the actors need to have (such as mastering different accents and being prepared to switch roles quickly) and the little support that they receive during auditions, especially among seemingly disinterested producers.

I've always suspected that some movies make Sundance mainly because a famous Hollywood personality is involved. If said star chooses to make a low-budget non-commercial film, it warrants a free pass to the big dance based on risk-taking and "independent spirit." So it is with Ellie Parker, a movie produced by and starring Naomi Watts (and directed by actor Scott Coffey) about the travails of a young actress searching for her identity in L.A.'s shallow and artificial cultural wasteland. It is clear that it was made for industry insiders, who saw in it a painful mirror to their world. The rest of us enjoyed a few funny moments in a movie that had no apparent beginning, middle or end, no discernible plot, plenty of conflict but no resolution. I'm sure there was a point in all that depressing futility. To make it worse, it was shot on a Sony HD cam, so the quality was maybe a tad better than my home movies.

Ellie Parker would be useful if one were trying to thin the herd of aspiring actresses. Maybe they should show it in high schools, kind of like Reefer Madness 50 years ago.

By the way, Chevy Chase has a small and rather cryptic role as an agent. (The audience wasn't sure if he was trying to be serious or comedic.) I love Chevy Chase, but unlike his old SNL partner Dan Akroyd, he should stick to comedies. He gives a really dreadful performance. But he was refreshingly funny at the Sundance Q&A.

"Ellie Parker" is the sort of movie that you wish you could have made in college. It's funny, somewhat different, and has a beautiful leading lady, that of which goes by the name of Naomi Watts in this case. It also has an incredibly low budget.

As a matter of fact, it looks as though it could have been a college student's project. An hour and a half showcasing Naomi Watt's fantastic amount of talent as Ellie Parker: A struggling actress jumping from audition to audition with the hope of landing a part in anything she can get. Her loser boyfriend is no help, neither is her agent, and as the days go by, she loses more and more hope.

Whether she's cruising down Sunset Strip to her next audition, or yelling into her cellular flying down the 101, there is a part of us throughout the entire movie that wants to know what is going to happen to Ellie next. She's lovable. She's talented. She's been through more than we (the audience) can begin to understand. But most importantly, she's determined.

If you adore Watts as much as this reviewer does and you want to see her in something realistic (as close as it gets), check out "Ellie Parker". You won't get to see her like this in "King Kong." That's for sure.

I'd looked forward to this one, as most attempts at satirizing Hollywood life in the last two decades, both from studios and indies, have ranged from mediocre to unmitigated disasters. This one offered Naomi Watts in a starring role, and I've adored her since "Mulholland Drive", both as a terrific, versatile actress and as an unqualified beauty (they all seem to come from Australia and the U.K. these days, don't they?).

Well, Ms. Watts does shine in the title role, and she's in every scene, but somehow the film still falls flat. I'm not a big fan of film-making on digital video -- it always comes across to me like I'm watching someone's home movies, an experience I should be paid for, not that I should have to pay for -- but I understand why it's done in certain cases. In this case, it was a mistake.

Writer-director Coffey appears to be going for verite-style realism (I'm assuming he's not so arrogant as to place himself in the uber-pretentious Dogme 95 school), but he doesn't seem to realize that in order for any film to work, the result shouldn't come across as a home movie or, in this case, a student film.

Too much time is spent on Ellie in her car, doing all the things that Angelenos do in their cars because they're just too busy to do them elsewhere (applying makeup, changing clothes, practicing their lines, and the universal asshole-identifier, talking on their cellphones) and too self-absorbed to care how it affects their driving or those around them. This works as satire for one scene -- the next four times it occurs it feels just like being stuck in a car behind one of these narcissists, and it's not an enjoyable feeling. There's a related scene about halfway through that's amusingly ironic, but not worth the endurance test.

Just as with the interior car shots, much of the satire is overripe, pushing the irritation factor of nearly every character to its limits, testing the thresholds of both humorous exaggeration and simple tolerance. No satire should leave you wanting to burn the characters and their milieu to the ground (apart from "Day of the Locust", in which Hollywood does in fact burn, deservedly, but in context).

(As an aside, and for a chuckle, this may be the first time Keanu Reeves isn't the most annoying element of a movie he's in. But then, he appears only as a member of his band Dogstar, playing in a club, and he has no lines.) The other key problem is often endemic to film satire: it moves at a snail's pace. Unless you're the rare individual who's both an struggling thespian in Hollywood AND a caring, thoughtful individual, you will probably find yourself yawning a lot more frequently than laughing during this 95 minutes.

For all its drawbacks, though, this is a showcase for Naomi Watts to show how versatile she is, with the verisimilitude of her having to switch between characters, accents, moods, etc. The overall comment, that she doesn't really seem to be herself very often and has no idea who that self really is within the realm of all her "performing," is funny and worth exploring, but Coffey (or someone else) needs a vehicle that's more engaging, clearer about its objectives, and at least somewhat watchable.