David Mamet's pungent take on Tinseltown gets a more-than-acceptable revival.
What Mamet brings to this frequently-told tale is a theatrical dynamism that throws off so many sparks it looks as if he's produced a fistful of fresh fireworks. He does it by shoving on stage newly promoted Hollywood executive Bobby Gould (Jeremy Piven) with cockily yet desperately hopeful would-be producer Charlie Fox (Raul Esparza), who are all set to collaborate on a commercial hit -- and then tosses in a devilish complication: Bobby's temp secretary Karen (Elisabeth Moss).
While Karen's at Bobby's pad in the evening -- lured there in part on a bet that the two operators have -- she talks the malleable fellow into junking Charlie's surefire prison flick project in favor of adapting a literary novel of the sort that has Oscar potential, a turn of events which sends Charlie into a tailspin the next morning.
The 90-minute piece is rich in Mamet's signature touches, notably the cornucopia of hilariously damning dialogue rat-a-tatted as if from an AK-47. Spewing his objection to putting the novel under question on the screen, the angry Charlie says: "Hey, I believe in the Yellow Pages, Bob, but I don't want to film it." Also by the luck of timing, there are several lines about "mavericks" that get today's audiences chuckling -- not to mention numerous horrifyingly comic takes on the dumbing down and screwing up of the culture that seem just as relevant today as when they were written.
Bobby and Charlie are part of the phalanx of deficiently mature men that Mamet habitually sees populating the modern world. The compromises that make up their survival tactics are too true to be ignored -- a consistent Mamet strength. Also present here is a version of the enigmatic woman whom Mamet often sees disturbing what he seems to wish were an unfettered man's world.