SincereFinest disgusting, overrated, pointless

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Brooklynn There's a more than satisfactory amount of boom-boom in the movie's trim running time.

tomm-25 Ostensibly a sequel to the 1997 semi-serious black comedy "Henry Fool" (a "10" in my book), the first twenty minutes had me thinking it was just a horrible screen writing, bad-acting and terrible cinematography job. For one thing, the frame in every scene - and I mean EVERY scene - is "Dutch- (Deutsch)-tilted". There isn't a level shot in the entire movie.When I involuntarily started to guffaw, I realized that this was the intent. I restarted the DVD, and viewed it with entirely different eyes, ears and attitude. This film is a laugh-a-minute farce. Jeff Goldblum (not a player in the original Henry Fool cast) is a fabulous deadpan farceur contributing mightily to the general insouciance.Parker Posey displays a delightful and heretofore unknown penchant for comedy - comic timing, facial expression, and body-language - closely akin to Sandra Bullock's.Highly recommended!

zaenkney "An honest man is always in trouble." This becomes a timberous theme, shadowing Fay throughout the sequel to "Henry Fool." Her character begins as a confused and tentative interviewee, being interrogated by heavy handed, pushy government ghost-types. Men with authority over her, the ability to cause her and her family harm, without disclosing their own motives and limits are leaning hard and fast on Fay. After a couple of conditions are met, she complies meekly. At least, for a while."Fay Grim" is as nicely convoluted as a triple loop roller coaster ride - keeps you off-guard and a little dizzy, but in a good way. The patter and phraseology reminded me somewhat of the cadence of a Mamet work. This played very well with Parker Posey's characterization, as well as that of Jeff Goldblum and James Urbaniak. In fact, Urbaniak, as Simon with the owl-glassed eyes, was superbly down-played as Fay's poet genius, stalwart brother. Henry's very brief appearances gave proof of his very big personality and, quite frankly induced me to queue up "Henry Fool" which I have been very reluctant to do.Undoubtedly, this is a movie I will watch again. It is quirky, somewhat suspenseful, it makes one think. Certainly, as a result of Hartley's stylish acumen and finesse I will benefit from rewatching to catch other of his artistic strokes I will have missed the first time around. Agents, spies, intrigue and espionage! A woman bumbling through this all to get to her man, who may not even be alive. By the time Fay is done, this butterfly bestirs ripples afar, you know.

jzappa Generically speaking, Fay Grim is a highly entertaining thriller featuring two of the most inexorably enjoyable names in American movies, unshakably beautiful and gracefully spunky Parker Posey and endlessly charismatic and unavoidably hilarious Jeff Goldblum. They have many scenes in the first half of the film in which we see these two insatiable presences volleying off of each other, even radiating with charm when Goldblum rolls off Hartley's shamelessly epic info-dumps. Nevertheless, if one were to deconstruct Fay Grim, one would see many instances in which countless scenes could've been squeezed for much more benefit than they have resulted in being.This sort of filmed in-joke is the sequel to Hal Hartley's Henry Fool, which was made ten years earlier. It has title character Posey forced by CIA agent Goldblum to track down the notebooks that were the precious possessions of her missing fugitive husband, the predecessor's titular anti-hero. Available within them is information that could concede the safety of the United States. Fay first makes for Paris to get a hold of them but becomes engulfed in a bona fide celebration of espionage clichés featuring everything from car bombs to ambiguous helpers to Following the Girl to double-crosses to triple-crosses.The primary appeal of it all for me is that it's such a novel approach to the sequel of a movie about a garbageman and a struggling novelist in a small town. In the original Henry Fool, Posey played a simple woman leading a very simple life. Hartley's talents do not reach the heights of many of the other independent newbies from the 1990s, but I do admire his wild creativity in making an inadvertent Nearne sister out of her, giving her a terrific predicament, as he did to her character's brother, played by James Urbaniak, in Henry Fool, as she is trapped between whether or not she may still love her overwhelming refugee husband and the problematic but forceful plans of Goldblum.Hartley, however, is simply riding on that fragmentary idea. His plot, though complex and labyrinthine, true to the form of the spy film, it seems as if to be entirely capricious. The reason I was not bored was mostly due to the pace at which the story unfolds, not to mention the presence of Posey and Goldblum. The problem with the remainder of Hartley's cast is that I cannot seem to become fond of the rest of them. It has nothing to do with how obscure they are compared to the relative star power of the two said charm masters, but with how they don't seem to hold their own alongside them, though Saffron Burrows certainly comes close. Most of the scenes not involving Posey or Goldblum are far too light on their feet, stringing us along with info-dumps we have no choice but to listen to or else be totally lost in the ensuing sequence of scenes. They are shot almost entirely in tiled angles, as if Hartley is compensating for that implacable feeling of a lack of material.Liam Aiken, however, playing the now teenage son of Fay and Henry, has a certain allure about him, seeming wise beyond his years, certainly much wiser than any of the adult characters. Perhaps Hartley intended that, or maybe it's simply Aiken's presence. The problem with a Hartley film is that you never quite know what was intended and what just happens to be there. As Scorsese said, "Cinema is a matter of what's in the frame and what's out." One has to be able to trust that what we see is a conscious decision by the filmmaker to remain in the finished film.

Elswet Henry Fool surprised me. I didn't expect it to entertain and amuse as well, or as strongly, as it did. Fay Grim continues to surprise in that it provides solid continuation to a story that seems not to need it. Once the viewer watches the first 20 minutes of the movie, however, it becomes blindingly aware that this is one of the BEST sequels to brilliant indie film. At least as good as Ginger Snaps Back, if not better.I am a little disappointed that Jeff Goldblum's part is so small, but I'm happy he is a part of this short run. He is convincing and delightful as Agent Fulbright. Also a delight is Liam Aiken who quite aptly portrays Ned Grim, the son of Fay and Henry.This movie is a pleasure for so many reasons. I am pleased, for example, to discover that Henry isn't really the loser he seems (by the end of Fool), and to further discover that he is, in fact, a genius...well, that really is a lovely stroke of the pen.I am hoping they do a third...like the end of the trilogy. It seems to be missing. They should entitle it Ned Fool Grim and it should be Liam looking for his father, to validate the awesome change in his mother, and the sense of near-genius he himself feels welling inside him. Assuming, of course, that Fay continues withholding many of the most important facts from her son, concerning his father. It feels like it needs to be done. I'd buy it.Even with more action, this is still not an action flick. It is more drama and intrigue...a mystery, of sorts. I'll watch it often.It rates an 8.3/10 from...the Fiend :.