7 Chinese Brothers

Reading some reviews I half expected a slacker film as in something a bit like American Pie (but with slackers). But this was good - I like films that are realistic like this one. That is the main thing I liked - not big high stakes drama or clichés or tilting towards a message.

The character was not pointless - the character does grow.

I didn't really understand the title though. I like REM (I was really into them as a young adult - probably too much). But whilst the song might have an interpretation that makes sense in the context of the movie, it surely doesn't enough to name the film after it. A kind of random incidental-ism is fine, but it should make some sense.

Cause it really doesn't have much of a plot, and the little that resembles a plot doesn't seem to make a ton of sense.

It's basically about a self-absorbed 'loser' who played by someone else other than Jason Swartzman would probably be tedious.

But Jason's natural charm and charisma redeems the character somewhat from feeling like a total prick and the 'movie' from being a total trainwreck.

I write movie as 'movie' because it really doesn't feel like a movie, it feels like maybe it would have worked better as a TV series split up to 3 parts instead (although I'm not sure that people would tune in every week to see the next episode).

There are some okay scenes, mainly the ones between Jason and his (also real life pet) dog, they have better chemistry together than Jason has with any of his human co-stars in the movie.

So I would only remotely recommend this to hardcore Jason fans who has to see everything he's in, if you're not too fussy about him give it a skip, if you dislike him then well you will without a doubt hate it.

Absolutely charming and hilarious. Jason Schwartzman is pitch perfect as Larry, a slacker who gets fired from his job in a restaurant at the beginning of the film, sipping through a straw from his Big Gulp.

Schwartzman isn't the only tour de force in the film, his dog Arrow makes the perfect comedic counterpart, exasperated and non-plussed at many of Larry's diatribes and philosophies.

Bob Byington deserves a lot of credit as well, his previous film Somebody Up There Likes Me is equally hilarious, but 7 Chinese Brothers is less surreal and more rooted in character and pathos. 7CB has lots of mainstream appeal and will undoubtedly be listed in with other iconic Schartzman roles.

7CB is always surprising, always pushing at the edges of conventional narratives. The film works so well because it is coming from a very unique voice of storytelling and sense of humor. It's exciting to see a film come out like this and almost instantly feel like a comedy classic. Do yourself a favor and get a big gulp of 7 Chinese Brothers.

Larry (Jason Schwartzman) is a slacker with little ambition. He works a menial job at the oil change garage. He has his dog. He is joined by his grandmother (Olympia Dukakis). His friend Major Norwood gets him his drugs.

It's Schwartzman doing his slacker thing. For his fans, this may be interesting. Indie filmmaker Robert Byington is not strictly mumblecore. His dialog is not mumble but it has much of the indie sensibilities. In the end, there isn't much going on with this character. It's hard to tell if he cares or is he just scared like when he runs out on a sure thing with a girl. It makes it hard to care about him.

This film is a case study on why film criticism exists, to separate the chaff of it from the wheat it pretends as.

Neither an evolution nor simulcrum of Lost in Translation, Office Space, or Bottle Rocket, this extended screen test of Jason Schwartzman inhabiting deep suburban environs as a narcissist layabout was likely pitched to distributors as a mashup of all three.

Writer-director Bob Byington begins with an old R.E.M. song, 7 Chinese Brothers. This song, from the band's Reckoning album, was naught but a prank; it was Michael Stipe singing the liner notes to a random gospel LP he'd found laying around, which the studio engineer mistakenly recorded, and which the band, finding the track's accidental provenance hilarious, formed into a nondescript, mildly jangly tune.

Does this near non-song by R.E.M. inform Byington's film in any measure? No, except that he cues the song at the end credits so that the key grips might have a mildly jangly ruffle and flourish behind their accrediture.

From the song Byington derives the title, and upon the meaningless title Byington builds no story whatsoever, and by no story I mean not even a Seinfeldian non-story proposition.

Jason Schwartzman is the lead as "Larry." Schwartzman, who is a celebrity and a very good actor, and who might perpetually attract some long-tail audience interested in watching him do anything--say, selling peanuts in a ballpark vendor's uniform-- for a duration of 76 minutes, is required by Byington to move in and out of bland sets (a quik lube garage, a dingy convenience store) and make slight actions (throw a hat at a Mazda, deny your grandmother a sip from a Big Gulp) that are supposed to stand in for the plot or un- plot as it were. Nothing worth filming, nothing that would be worth filming by students, is there.

These are petty crimes against cinema Byington is caught at, but that should be no taint against Schwartzman, who screen tests as plumly as ever, or indeed against Tunde Adebimpe or Eleanor Pienta, who check in as friendly companions who join us in wondering just what is supposed to be fascinating about a character who is simultaneously so self-possessed and so lacking in initiative of thought, credible emotion, or stirrings.

Rather than screening this movie, Schwartzman enthusiasts are better off hunting down Hotel Chevalier and spending the time gained from unspent viewing balancing their checkbooks.