The actor plays a dud of a Dude in a movie he directed that's all wispy-warped dialogue that goes nowhere and a conspiracy that rehashes 'Chinatown.'
: the early Shatner-smooth charisma, the powerful chops he’s displayed in movies like “Hell or High Water,” the authoritative snap of his performance as the cult-leader heavy in “Don’t Worry Darling.” So I take no vicious pleasure in saying that “,” a movie that Pine co-wrote, directed, and stars in, is not only the worst film I saw during the fall festival season but would likely be one of the worst films in any year it came out.
Early on, he sits down at the small manual typewriter in his shack and dashes off one of the civic-minded crank letters he regularly writes to Erin Brockovich, whose photograph hangs on his wall like a shrine. There’s an endless scene of pillow talk between Darren and his girlfriend, Susan , and it’s here that we first plug into the film’s unique mode of dialogue: half-finished thoughts, whimsical non-jokes, a perpetual dangling conversation that doesn’t connect with itself or go anywhere.
When Darren isn’t spewing absurdist gibberish or working on one of his origami sculptures, he marches down to a city council meeting dominated by a corrupt official who is, for no good reason, an Orthodox rabbi. The character has yet another layer of identity, revealed late in the film, that manages to be both au courant and oh so retrograde.
At the council meeting, Darren stands at the mic and acts like someone who has lost his marbles, and it’s here that we confront the central delusion that drives terrible movies directed by actors who are also starring in them. The auteur-narcissist believes that the audience is automatically going to be enraptured by everything he’s doing. It’s thespian exhibitionism run amok. The job of actors is to think that way. But the job of directors is to rein them in.
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