Ellie Parker

If you are a fan of Naomi Watts, as I have been since seeing her for the first time in Mulholland Drive, you will not want to miss Ellie Parker - a veritable tour de force for the actor, who gives us not a caricature but rather a sympathetic, flesh-and-blood, 3-dimensional human being whose plight pertains not only to the acting world but to anybody who has ever felt rejected, misunderstood and/or unappreciated by the world at large. This makes its audience much wider than merely the 'Hollywood community' without ever becoming preachy about it, which I especially liked. Some of the scenes feel completely improvised, which I also enjoyed, and her audition scene near the beginning is more than worth the price of admission alone.

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.

"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.

"Ellie Parker" feels like an extended episode of "Unscripted" through the funny lens of Albert Brooks.

It does show the strains of being expanded from a short, for bits that feel like a "Saturday Night Live" routine, and for typical targets for actors -- acting class, slacker boyfriends, friends competing for the same lousy roles in cheesy WB and Fox TV pilots, pretentious indie directors (and I assume it was intentional that the guy looked like Jim Jarmusch), scheming casting agents, and phony producers.

But it still manages to very amusingly have some original takes on Hollywood. The funniest angle is that no one does know who they are any more, whether from class, day jobs, rapid-fire auditions, therapy, one-night stands of flexible sexuality and recreational self-medication drugs, so that they always feel like they are acting in the movie of their lives. And everyone seems to want to be someone else anyway, such as a night out to see Keanu Reeves wannabe rock star in his band Dogstar.

Key to the success of the movie is the amazingly versatile chameleon Naomi Watts. While I presume the short started in 2001 before her break-out in "Mulholland Drive" as a bit of envy revenge when her good friend Nicole Kidman was already getting big roles, it now seems like nostalgia because she's so beautiful here it's hard to think of her being dumped or cheated on and so talented as she morphs from tragic Southern belle to channeling Debbie Harry as a New York doll to looking astoundingly like the naive young Hayley Mills and a self-referential take on Marilyn Monroe that it's hard to believe Leslie Bibb would get a role over her. She has terrific best friend chemistry with fellow Aussie Rebecca Rigg (who I did not recognize at all from "Farscape"), making me realize how few films showcase Watts with female bonding relationships.

While the in-Hollywood jokes get a bit much and the basic arc is predictable, there are a lot of chuckles. Chevy Chase is very funny in a grown-up cameo as her agent.

I know this may come as a shock to actors, but job hunting is just as merciless in other fields so we civilians can relate to Ellie Parker's travails. It is very sweet that the closing credits include director/actor Scott Coffey's tribute to the strong women who inspired him, particularly his mother.

Well, ...(I am rather hesitant to say this)....but, I suspect that this film's audience are people who are already in some way connected to the business. (Of making films, that is). (It seems to me that the humour is mainly intended for them).

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However, I also want to stress that I did find Naomi Watts' performance outstanding!

Up until now, (as far as I am concerned), Naomi Watts has been, basically, "a pretty face". (And a very pretty face it is)! ;-) But in this film she really showed that she is really and truly an *actress*! (And a very fine actress, actually)! -I was impressed!

Karl Barkarson,

-from Iceland