Fight Club

Fight Club, directed by David Fincher (Seven), is not for the faint of heart; the violence is no holds barred. But the film is captivating and beautifully shot, with some thought-provoking ideas. Pitt and Norton are an unbeatable duo, and the film has some surprisingly humorous moments. The film leaves you with a sense of profound discomfort and a desire to see it again, if for no other reason than to just to take it all in. --Jenny Brown

Not only is the film visualy stunning, it is also very thought-provoking, wickedly funny and, above all, extremely entertaining. Only few films managed to be so many things at once. David Fincher, in my opinion one of the most exciting directors of the decade, fills his movie with so many ideas that it would be sufficient for three more movies, and they are not just gimmicks for their own sake, they all mean something. Edward Norton and Brad Pitt are brilliant in the leads and the soundtrack by the Dust Brothers fits perfectly to the images.

Many reviewers thought the film was fascist. I think you can only call this ridiculous, since that assumes Fincher sympathizes with Tyler Durden's project mayhem. In fact, he invites us to form our own opinion, like Stanley Kubrick did in "A Clockwork Orange". "Fight Club" hands over the resposibility to the viewer. This may be uncomfortable to some, others (like myself) will embrace this.


This Movie is Why "Professional" Critics Must Go   April 29, 2000
A. Fultz (Santa Barbara, CA, USA)
135 out of 155 found this review helpful

I didn't see this movie in the theaters because it had gotten very mixed reviews from the so-called professional movie reviewers. But, when it hit the local vidoe store, I thought I would give it a try. WOW, what a kick in the teeth, interesting, and fast moving journey into one man's mind. The path this movie takes is fantastic.

Norton and Pitt are perfectly cast, and supported by a crew of fight club members that make for a well-acted show. Meatloaf, Ed Gil, Jared Leto, et. al. are great in support as the members/followers of the leads. Helena Bonham Carter has the only real female role in this film and is perfectly cast. But as much as the acting, this movie is made by the story. Unconventional, with a great twist at the end, the whole movie kept me on the edge of my seat. As with many great movies, it is hard to classify the genre (action, comedy, drama), as there is a sampling of all in this film. In the end, I would just classify this as a great film.

Much was made of the violence of this movie when it first hit the theaters. Those critics overstated the case. There is blood and violence in the movie, but it is not excessive and it serves the plot well.

If you missed this in the theater, see it now. If you saw it once, see it again. I will.


Misunderstood Masterpiece   February 10, 2000
David Pumphrey (Boulder, CO)
77 out of 81 found this review helpful

This is one of the most thought provoking films in recent memory. The negative remarks and ignorant backlash from select critics and groups should not deter the potential viewer. I would question anyone who is quick to dismissively criticize this movie. Director David Fincher's vision is extraordinary, teamed with an all-star cast in top form, including the greatest actor to ever grace the screen, Edward Norton. Technically, every aspect of the film is a wonder. Everywhere from the editing to the cinematography, the screenplay to the soundtrack.

First and foremost I feel that this is a movie about self exploration and self discovery. The title, and the rumored malicious violence, should not discourage one from seeing this movie. The fighting is minimal and at the very least, secondary. Its usage in the story is metaphoric (amongst many other ideas in the movie). The violence has been unfairly misrepresented by the media as well, (1980's Raging Bull had much more excruciating violence, which by the way, is now considered a classic by most). Yes, the movie satirizes today's society, but the accusations of fascist views and endorsement is ludicrous! If anything I feel that in the end, the alternative, or the "antiestablishment" is made a bigger mockery of. I think the second half blatantly emphasizes that. The "plot twist" that many of the reviewers have so rudely eluded to is just a further illustration that the struggle for identity, relationships, and self discovery is an internal battle.

One day we will look back on this movie and respect it for what it is. A very unique, intelligent satire. A sure fire classic.


This Movie doesn't care what you rate it...   January 24, 2006
YellowLedbetter
49 out of 61 found this review helpful

It's a number. A star. A rating. Tyler knows that. He doesn't care. He's just pleased to know that in a world where even God doesn't know most people's name, there's another man who knows who Tyler Durden is.

Tyler Durden lets Big Lou punch him repeatedly in the jaw, while laughing maniacally, mocking him and infuriating him. At the end of the scene, Tyler seems to make the point: Real men don't always beat the crap out of other men, Real Men laugh silly at other men who try their best to make them feel pain, but only fail repeatedly. How would you feel if you sucked in all the power you had, landed a blow on a dude, and he laughed in your face as if to say, "That's your best shot?" Not very good, I think.

Tyler Durden [Brad Pitt] is the manifestation of every man's fantasy. Good-looking, brash, arrogant, fights like a tank, takes a beating like a tank, ****s like a machine and doesn't do any REAL work.

The Narrator [Ed Norton] is the manifestation of most modern men's reality. Plain-looking, dead-end job, no stable relationship, a decent collection of lifestyle accessories and sheer boredom.

When the two meet, you might expect the movie takes the usual route where the two men get to learn from each other, and find that each person's life has as many highs as pitfalls, and that your life is what you make of it. Err...no. Tyler is an enigma. A revolutionary of sorts. Hell, he isn't here to "learn" about the Narrator. He's here to "Jack" his life!!! Tyler Durden is a bigger, larger-than-life figure than James Bond, the Terminator or even Neo. He could easily steal any one of Bond's potential bed-mates from right under his nose. He could easily program the Terminator to believe its existence was useless and that it should self-terminate. He might even make Neo give-up and dump the whole "Because I choose to.." talk.

This movie may not "change" your life, but it will affect it. You will develop a liking for red leather. You will start working on a new walk. You will start sizing people up everywhere you go. You will stop caring about the fact that you're a 6-foot 120-lbs weakling with 13" biceps. You will start to think, "I'm sure I could throw ONE good dislocating punch at a 220lbs biker even after I take 4 punches to my face". You will want to be in better shape. You will cringe at the idea of a woman having any kind of control over your life. You will want to learn the art of dead-pan sarcasm that scares your boss out of his/her wits. Watch this movie, and you will wish that someday, people will ask, "Say, Who is (insert your name)?"

One of the better "mainstream" movies to have come out of Hollywood in recent years. Unless you exclusively like movies with a "Made for Oscars" plot [Disabled dude learns to appreciate life, WWII/Vietnam Veteran learn the value of human life,Gay Dude stands up against the system, etc.], you will have a hard time wondering why this movie didn't win a few dozen awards. In Tyler, You Can Trust.


"Fight Club" and Francis Fukuyama's "End of History"   September 3, 2000
David Thomson (Houston, TX USA)
40 out of 77 found this review helpful

The late director, Stanley Kubrick's masterpiece, "Clockwork Orange" is a better movie than "Fight Club." This fact, though, should not deter one from viewing this film that includes the incredibly talented actors, Brad Pitt and Edward Norton. These two artistic masters alone mandate that a serious person take a chance on this challenging and very disturbing story.

Francis Fukuyama's book "The End of History" came to mind while viewing this dark satirical film. Fukuyama argued a few years ago that perhaps our society will evolve to the point where we have essentially accomplished all that can be hoped for in satisfying our essential needs. This satiation of all our everyday basic wants and desires could leave us bored and existentially empty. Do homo sapien males especially have an innate urge to risk their lives? What if there are no wars to be legitimately fought? Is it possible that the male gender will always feel an incumbent need to seek an alternative option to express the violent side of their nature? Edward Norton portrays a white collar yuppie about 30 who doesn't have much of a life. He buys unnecessary consumer goods merely to give himself something to do and add to his sense of security. Norton's character earns a living cynically investigating when it might be better for his employer to pay off on an individual accident claim instead of ordering a far more expensive automobile recall. I usually dislike movies with a strong anti-Capitalist message. This is the economic system which has greatly improved the lives of many throughout the world. Nonetheless, I put aside this rational prejudice to see if the director, David Fincher, could offer some insights into the mind set of those self absorbed males inclined towards violence merely to alleviate the boredom of their meaningless lives. My investment in Fincher was amply rewarded.

The Italian Fascist, Benito Mussolini, had a deep intense hatred for logical thinking and the values of democratic civilization. Mussolini argued that violence for its own sake has redeeming and cathartic value. True manliness demanded a cold indifference towards human suffering and a callous disregard for the rights of others outside one's immediate social group. "Fight Club" never directly refers to Mussolini, but Fincher's vision provides us with a window into the soul's of those attracted to a lifestyle rightfully perceived as commonly alien and disgusting. Fincher refuses to romanticize the converts to the "Fight Club" therapeutic culture. We do not in anyway envy or wish to emulate these sick and pathetic creatures. On the contrary, we are left at the end of the film hoping that such angry and frustrated males exist primarily only in fiction. Alas, unfortunately "Fight Club" mirrors at least a bit of what occasionally occurs in the real world. I strongly urge the reader to immediately obtain the 1990 non-fiction book, "Among the Thugs: The Experience, and The Seduction, of Crowd Violence" by English writer, Bill Buford. This superb study of British hooligans who relish beating up innocent people at soccer games complements "Fight Club." Buford's book deals with males who embrace the "Fight Club" morality as their very own. We can only pray that this film does not prove to be prophetic for the increasingly affluent and "End of History" American society beginning the 21st Century.