Tag Archives: Isabelle Huppert


DIRECTED BY: David O. Russell

FEATURING: , Dustin Hoffman, Lily Tomlin, , , ,

PLOT: Albert (Schwartzman) is an activist fighting the gigantic Huckabees corporation, which is building a Target-style store in the nearby woods. Enlisting the help of a pair of “existential detectives” (Tomlin and Hoffman), Albert soon encounters two Huckabees operatives—the beautiful blonde couple Brad (Law) and Dawn (Watts)—as well as a disillusioned fireman (Wahlberg). Eventually, everyone’s lives are changed.

Still from I [Heart] Huckabees (2004)

WHY IT MIGHT MAKE THE LIST: Because it is so willfully, obstinately pretentious, unfunny and heavy-handed as to be all but impenetrable. Still, fans of the bizarre will likely get something out of it, as it definitely goes all-out in its manic insanity and breaks a ton of storytelling rules.

COMMENTS: Director David O. Russell once said that I [Heart] Huckabees was his least favorite of his own films. It may not have been fun to make (find the YouTube videos that show Russell throwing a tantrum—among other things—at Tomlin), because it certainly isn’t fun to watch.  A labyrinthine mess, Huckabees makes no sense and doesn’t seem to want to. Despite fine performances (particularly Wahlberg’s) from its all-star cast, the movie is (apparently intentionally) unappealing from beginning to end. Granted, this is a polarizing picture (no one is likely to have a “meh” reaction to it), but yours truly could barely sit through the film.

After this debacle, Russell made Nailed, which was left unfinished and shelved for years, but followed it up with three artistic and commercial triumphs in a row: The Fighter (also with Wahlberg), Silver Linings Playbook, and American Hustle. I [Heart] Huckabees, by contrast, is like a transmission beamed in from an alternate, unpleasant universe in which nothing means anything. (Perhaps that was the point of the “existential detectives”). The film reaches one its many nadirs when Albert has a -like vision of Brad as a lactating Virgin Mary, or something.  Meanwhile Dustin Hoffman sports a hairstyle reminiscent of the Beatles circa 1964, Tippi Hedren drops an F-bomb, Schwartzman’s real-life mother (Talia Shire) shows up to play Albert’s mother, and Shania Twain pops up as herself (I can’t see her fan base enjoying this picture). None of this is amusing or at all entertaining. It is, however, genuinely bonkers. What the point of this silliness is  remains a mystery, but one that most people didn’t care to find out when the film opened in 2004. That was the same year that the equally challenging , but far superior, Eternal Sunshine of the Spotless Mind was released. That film had a heart as well as a brain. Huckabees, on the other hand, is like an endless series of interlocking puzzle pieces that can never be put together correctly. It’s not a good movie, but it’s definitely a weird one, and it just might make it onto the List.


“Weird does not necessarily equal funny.”–Linda Cook, Quad City Times (contemporaneous)

(This movie was nominated for review by “sam.” Suggest a weird movie of your own here.)


DIRECTED BY: Ursula Meier

FEATURING: , Olivier Gourmet, Madeleine Budd, Kacey Mottet Klein, Adélaïde Leroux

PLOT:  The idyllic existence of an isolated family is shattered by the re-opening of an abandoned highway that runs through their front yard.

Still from Home (2008)

WHY IT WON’T MAKE THE LIST:  Despite the absurd rot at its core, Home is structurally sound; but it’s too low-key and lacking in zing to be counted among the weirdest movies of all time.

COMMENTS:  There’s not much plot to Home—a highway opens in a family’s front yard, the fumes and endless noise bug them, and they eventually put cinder blocks and cement over their windows to keep the outside world out. The idea could have packed a compact wallop in a short; but here, there’s ninety minutes to fill up. Promising first time director Ursula Meier saturates the empty spaces with acting; thankfully, she has Isabelle Huppert and a pro cast on her side. Home will work best for those who find the carefully observed intimate details of other people’s family lives fascinating, but the leisurely pacing will make this thin allegory something of a grind for others. Early scenes establish the bucolic Eden that’s about to be paved over: the family plays hockey in the abandoned highway, watches TV on a couch outdoors, and bathes together. (Meier makes a major point of the family’s unselfconscious, unsexual nudity; Huppert is the only one in the film who keeps her clothes on). External pressure on the happy family arrives when the highway reopens (allowing Meier the opportunity for a nicely absurd parody of the “incredibly specific news broadcast” movie cliché: the only radio station the family receives focuses exclusively and obsessively on the new thoroughfare, tracking the progress of the first motorist as if he were a national celebrity). Amusingly, at first the brood attempts to go about its normal routines despite the intrusion of the motorway; college-age Judith continues her full-time bikini sunbathing career (to the delight of passing truckers), and the two younger kids dodge cars as they cross the highway on their way to school each morning. Eventually the pressure starts to get to the family unit; the incessant freeway noise causes sleepless nights, and fatalistic middle child Marion takes to wearing a homemade gas mask and filling her younger brother’s head with tales of how the gasoline fumes will stunt his growth. Father Michel (Gourmet) reasonably suggests relocation, but mother Marthe (Huppert) digs in to preserve the homestead. Under stress the family’s behavior takes a turn for the bizarre (especially Mom’s). When they decide to wall up the house, the heat inside becomes stifling and the air stale; they spend most of their time sleeping, lacking the strength to do more. The film’s symbolism is open-ended, which can be a very good thing, but which works better when coupled with a stronger narrative. Critics seem to be focusing on the happy pastoral family vs. poisonous industrial society theme and the environmentalist subtext, but there’s also a metaphor about growing up at work here. At each stage of the story, the tone reflects one of the three children’s perceptions of family life. At first there is a childish innocence and fun to the home, with nothing of too much importance existing outside it. The outside world (represented by the highway) begins to encroach on the family sanctuary and penetrate its four walls, reflecting the anxiety and disillusionment of the early teen years. Finally, the home becomes a stifling prison run by madmen whose walls must be torn down in order to become an adult.

This Home is often confused with Home (2008), a mother-daughter cancer drama, and Home (2009), an environmental documentary narrated by Glenn Close. I have no theory to offer as to why the filmmakers gave their French language film shot in Bulgaria an English title.


“…the engaging, darkly funny, surreal story of what happens when people who have thrived by keeping civilization at a safe distance suddenly find themselves pushed right back into its headlights… an absurdist pit stop on the order of ‘Bagdad Café,’ but with more edge and less charm.”–Janice Page, The Boston Globe (contemporaneous)