4.7/10
9,242
169 user 108 critic

Full Frontal (2002)

Trailer
0:48 | Trailer
A day in the life of a group of men and women in Hollywood, in the hours leading up to a friend's birthday party.

Director:

Steven Soderbergh

Writer:

Coleman Hough
1 nomination. See more awards »

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A look at the art of Spalding Gray who drew from real life experience to create a compelling and deeply personal series of monologues.

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Cast

Cast overview, first billed only:
David Duchovny ... Gus
Nicky Katt ... Hitler
Catherine Keener ... Lee
Mary McCormack ... Linda
David Hyde Pierce ... Carl
Julia Roberts ... Francesca / Catherine
Blair Underwood ... Calvin / Nicholas
Enrico Colantoni ... Arty / Ed
Erika Alexander ... Lucy
Tracy Vilar ... Heather
Brandon Keener ... Francesca's Assistant
Jeff Garlin ... Harvey, probably
David Alan Basche ... Nicholas's Agent
Terence Stamp ... Man on Plane / Himself
Nancy Lenehan ... Woman on Plane
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Storyline

Arty film-within-a-film revolves around seven people with little in common whose lives collide. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Everybody Needs A Release See more »

Genres:

Comedy | Romance

Motion Picture Rating (MPAA)

Rated R for language and some sexual content | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

2 August 2002 (USA) See more »

Also Known As:

How to Survive a Hotel Room Fire See more »

Filming Locations:

New York City, New York, USA See more »

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Box Office

Budget:

$2,000,000 (estimated)

Opening Weekend USA:

$739,834, 4 August 2002

Gross USA:

$2,512,846

Cumulative Worldwide Gross:

$3,438,804
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital | SDDS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

When Nicholas (Blair Underwood) is giving a rap/speech in the limo to Catherine (Julia Roberts) he says the line "briefly be seen kissing a pretty woman under a pelican moon,". combining the titles of two Julia Roberts movies: Pretty Woman (1990) and The Pelican Brief (1993). See more »

Goofs

Catherine's black notebook and pen suddenly appear on the airplane armrest between shots, after her tape player clicks. See more »

Quotes

Carl: I think Lee is like... Have you ever seen a dog get hit by a car but walk away? And there's this impact and you know something terrible has happened to that dog but it walks away and it doesn't seem to even realize the implications cause it just goes on. But you know that something terrible has happened inside this dog. That's, I think, what happened to Lee. It's like she's a dog that got hit by a car, and she walked away and she's still walking, but some very, very important things inside her ...
See more »

Crazy Credits

There are no opening credits for the movie. Instead, opening credits are shown for the "movie within the movie". See more »

Connections

References Jerry Maguire (1996) See more »

Soundtracks

Sarah
Composed and Orchestrated by Jacques Davidovici
Published by Telfrance (Administered by Marada USA/Criterion, for USA and Canada)
See more »

Frequently Asked Questions

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User Reviews

Much-maligned indie exercise turns out to be a cinema masterclass
18 January 2003 | by R. J.See all my reviews

Steven Soderbergh's much-maligned digital satire of Hollywood took an unfair savaging at the hands of American critics, who seem to resent the fact that the man has become the single most interesting and consistently exciting film director currently working in America. Designed as a deliberately low-budget, quasi-improvised indie production to counter-balance the big studio production of "Ocean's Eleven", "Full Frontal" was shot according to a Dogme 95-like manifesto (the actors had to drive themselves to work and do their own wardrobe and make-up, all the locations are pre-existing), and is a cross between the confessional nature of "Sex, Lies & Videotape", the multi-story structure of "Magnolia" and the film-within-a-film framework of François Truffaut's "Day for Night". It's the tale of a day in the life of six Los Angelenos connected in some way to the film industry: budding screenwriters Enrico Colantoni and David Hyde Pierce; Pierce's sister-in-law Mary McCormack, a struggling masseuse, and wife Catherine Keener, a human resources VP on the verge of a nervous breakdown; black actor Blair Underwood and film star Julia Roberts. Soderbergh follows the day's events as if he were shooting a documentary, in grainy (post-produced) DV, intercutting it with 35mm photography of a film in production starring Underwood and Roberts, whose plot is supposed to echo the main characters' situations. The Chinese-box structure only really becomes comprehensible about a third of the way in, and what looks at first like a self-indulgent exercise in the mechanics of low-budget filmmaking quickly becomes a cinema masterclass as Soderbergh effortlessly navigates the veritable maze of referential layers between film and life to the point you can no longer distinguish where film ends and reality begins, throwing in a number of celebrity cameos (Brad Pitt, Miramax's Harvey Weinstein, Terence Stamp reprising a scene from "The Limey") that blur the borders even further. You have to be open for it, but if you are you'll be richly rewarded.


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