La critique de James Berardinelli (2)
Hurlyburly is likely to be named by some viewers as an exercise in misogyny, but the characters display that trait, not the movie. These four men are among the least likable individuals to populate a movie screen this year, and Drazan makes no attempt to hide their shortcomings.

Hardly a scene goes by when someone isn't snorting cocaine or spewing angry epithets. Eddie, Mickey, Phil, and Artie are misanthropes -hateful people who, by their own admission,are"self-absorbed and distracted "Eddie is in the midst of a search for himself,but everything and everyone around him is shallow and pointless. As one character notes, Eddie surrounds himself with losers so that no matter how far he falls, there will always be someone in his immediate circle who is lower.

The dialogue is consistently brilliant. Both the words and the cadence are reminiscent of David Mamet, and it's always fascinating to see where seemingly-normal conversations go as the characters follow trains of thought onto bizarre tangents. There's never a lack of things to say -these characters don't shut up. The question of whether to eat at a Chinese or French restaurant develops into a passionate fight over fidelity. A darkly humorous story about oral sex ends with a shocking revelation.

And one particular exchange between Eddie and Mickey about the latter's relationship with Darlene extends over several face-to-face meetings and phone conversations, winding seamlessly from scene to scene. However, well-written dialogue is only fifty percent of why Hurlyburly works. The other major factor is the acting. This film is a showcase for several actors, and arguably contains the best ensemble participation of the year.