Credit goes to Jeannette Catsoulis and The New York Times, which I’ve been reading a lot lately, for bringing be finally back into the fold of watching movies at home. Or one movie, at least.
Ms. Catsoulis’ review is titled “‘Butt Boy’ Review: Compulsion as Comic Noir,” with the tagline: “A search for missing children leads to a man with a strange impulse in this wildly polarizing film.”
I’m not sure how wildly polarizing it is, but she starts out:
To endorse a movie titled “Butt Boy” is to commit to its lunacy — and, dare I say, cheek — as fully as its makers. And maybe it’s the hell we’re all living through right now, but Tyler Cornack’s orificial fantasy struck me as a hilariously bawdy, intermittently inspired act of vivacious vulgarity.
As typical with so many critics, that’s overstating it. But I admire her enthusiasm, and her alliteration.
My take: I like it when stuff happens in a movie, and it does in Butt Boy, in a mix of somber and corny, or more aptly Cornholio-y, and of both professionally and amateurishly executed filmmaking. This movie doesn’t wait around like so many A24 dramas.
There are a couple minor logic issues, larger story problems, and significant production weaknesses stemming from a lack of visual / cinematic prowess. A moment here or there where so-so TV drama quality is on display doesn’t help.
But to the Times’ take, this movie has an idea. It’s a fun story that mostly compels with dramatic buildup. Like those diversions listed in Comparison Notes below, you’re not likely to forget this one soon.
Comparison Notes: Holy Motors, Fight Club, John Dies at the End, Swiss Army Man, Fargo Season 3, South Park episode “Red Hot Catholic Love,” Teeth, Under the Skin, In Fabric