TrueJoshNight Truly Dreadful Film

Steinesongo Too many fans seem to be blown away

Smartorhypo Highly Overrated But Still Good

Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

chaos-rampant The movie opens with beautiful landscape shots of the Northwest countryside. Fenceposts jutting out from soddy earth, a freight train crossing fields of hay in the distance, billows of clouds, small structures by the side of the road, a motel or a diner in the middle of nowhere. Over this plays a languid but mysterious Twin Peaks piano arrangement and it's all adequately moody and atmospheric in an American Gothic sort of way. Through this however director Jon Jost keeps interleaving awkward frames, blocks of letters, opening credits with annoying swooshing sounds, color frames that announce "BLUE", numbers that count towards the "12 Steps to a Conclusion" announced in the opening credits. It's obvious by the first couple of minutes that, though Jost is more than capable to capture landscape and ambiance, he doesn't care for it. He has neither the affection for Pacific Northwest open expanses that Terrence Malick does in Badlands and neither the time or inclination of Twin Peaks David Lynch to weave mystery and intrigue around a given location.The rest of the movie is more Jon Jost frustration with experimental tricks that serve their own purpose. The use of split screen is interesting, I like in particular how we get the first image of Ricky Lee split in two, one is recounting childhood memories that matter only to him, the other is cursing and banging his head against the wall, and over the course of the movie the second Ricky Lee prevails, the macho laid-back hipster with the shades who is hopelessly self-involved and stupid. On the other hand the stop motion animation and choice to play most of the movie in voice-over narration does not work. It does at times because Jost writes as good as he shoots static shots of the smalltown American Nowheresville but Beth Ann's monologues, delivered in the most flat nasal monotone imaginable, a voice that sounds like Stephen Hawking's computer speech program crossed with a horse whinnying, are so grating to the ear it kind of defeats the purpose of trying to pay attention.Each of the couple relate to us their past experiences, their small triumphs and follies and doubts and past relationships that went nowhere. They say very little to each other and what they say they say with blank faces. But they hump like rabbits. That seems to be their only channel of communication left open, perhaps the only one they can trust with any safety. Jost clearly picks his main characters in Frameup among the naive and delusional, those baited by an American Dream turned sour, but he doesn't place himself above them. He's not condescending or smug in his portrayal. They may be misguided but they are graced with moments of humanity, awkward though they may be. We're called to empathize and show affection rather than point and laugh. This is the most successful Frameup becomes; the movie's characters come alive even when their expressionless faces do not, even when Jost gets in their way with his stilted framing and obtrusive camera games.Then we go back to angry rants about the destructive effects of money played over an inserted shot of a dollar bill, we get a weird psychedelic sequence where Jost's camera glides under big leafy trees that soon turn beetroot red as Beth Ann repeatedly muses about the "redwood trees" in the voice-over, we even get a sudden about-turn towards plot and genre as the couple of Beth Ann and Ricky Lee, smalltown losers with nowhere to go and nothing to hold them back to their dead end lives, arrive in California and decide to rob a 7/11. The movie doesn't soar to an emotional crescendo in the aftermath of the botched 7/11 job such as one might expect from a 'couple-on-the-run' road movie, it slowly screeches to a halt and you look out the window to see it hasn't really got anyplace in particular. Parts of the ride have been hypnotic and parts almost touching and funny, but everything else has been mostly annoying.

fedor8 FU was made during America's golden age - as far as indie films are concerned - which was the first half of the 90s. The U.S. indie film "industry" is pretty much dead right now, this being partially due to festivals such as Robert Redford's Sundance, which seeks to only promote overtly political i.e. left-wing movies and their cowardly makers (cowardly because there is nothing easier than to go with the PC flow, taking the safe route instead of creating something fresh and unrelated to social or political issues). Redford and his cronies were never as interested in movies as a form of entertainment as much they see it as a propaganda tool, a way to influence the populace as much as they possibly can, so that everyone would vote Democrat, and then eventually for Communists. (Don't ever think Redford has given up his red dream! They never do. There is no cure for that affliction, better known as "utopiania dementius".) That is not to say that Jost's unique little film is apolitical; after all, this man spent 2 years in jail for refusing to fight the Vietnam war. FU is very much left-wing, but there are only 2-3 moments of overt political vomitus. The first one is Swain's long and childish ramble about the evils of money, the other one a patriotic, happy-go-lucky America song, played while preparations are being made to execute the movie's couple. This latter segment was annoying because it cheapened the brilliantly filmed shots that followed. The song was Jost's way of saying - in a none-too-subtle way: "Hey, everyone, America is decadent because we still allow the death penalty!". This lack of subtlety sticks out like an idiot in a science convention. I also found it absurd that both Carlin would be handed a death sentence; in reality this would have been highly unlikely. But I guess Jost has a bone to pick with America; he must be a very, very frustrated, bitter man...However, what follows from there is one of the 90s highlights. Carlin's narration about the process of dying and then the state of being dead is the best description - or an attempt at a description - of death I'd ever seen anywhere. The movie very appropriately ends with this sequence, which is beautifully shot, giving FU one of the best endings you'll ever see. Jost had set up Carlin from the very beginning as an amazingly empty-headed bimbo, her narration often being a cause for amusement, but he uses her to make some clever or at least interesting observations on occasion, as well, this being nowhere as true as during this "outro". Her final words give away Jost's atheistic beliefs, but there is an unusual note of optimism there, something that is hard to describe.Carlin is excellent as the almost zombified version of a clueless all-American woman. Her line-delivery is totally one-note, and yet she is almost never dull, even when she talks about the dumbest/irrelevant things. The tone of her voice certainly contributes to her comedic success. Swain is also quite good, but Carlin steals this movie. The redwoods scene, coupled with her infantile cries of joy and interesting music, is another highlight of the movie. If you're looking for a unique (female) character, Carlin's is as good a choice to observe as any. Very effective is a scene in which Swain drives, while Carlin sits next to him, reading a trashy romance novel. Her facial expressions are wonderful, especially her smug grin after she finishes servicing Swain orally.FU is very slow, static, with very long shots, and experimental. If you're a great fan of the Spiderman movies, you might wanna skip this one.Then again, I have no idea how anyone will find a copy of this movie - short of contacting Jost himself. I doubt this exists on DVD, and I very much doubt many channels would play it. There is a pornographic scene in the movie which was quite unnecessary.

bwanadj This is a great film - almost one of the many that I would like to have made (if i was a director and not a coward...). I had my leg broken in 2000 and was having very irregular sleep cycles. Waking up at 3 o'clock late night, this had been going on TV for 25-30 min. I was stricken by the the first moment and rose up with difficulty to find an empty tape to record it and so i only have half of it. It's amazing how rich can a film like that be - i used to throw sound bits of it over my DJ-sets and radio shows and always someone would ask me about it... I wish i could find it and see it in whole - HELP ME, film-freaks of the planet!!!

eilon elikam that's the movie that "Natural Born Killers" wanted to be, without any success. probably 1/100 from the Oliver Stone budget, and so much better, so much REAL, so muck authentic... that movie is not for everyone's eyes, it has a very slow and disturbing mood, with admirable, obscure - camera shots and no-budget video art techniques. the story of one outlaw that just got out of state prison called Rickey-Lee, and his -hard to believe- naive, girlfriend Bath-Ann. he is the almost perfect anti hero, a white trash smart guy, with anger and desperation. she's a no-life waitress, having her "good times" in remembering her high school years. they both ride to the American dream - California. a journey filled with heart-holding moments, hatred and evilness. frame up is one movie that i'll never forget. that's not the stuff that you see, go to sleep, and forget in the morning, this will stay and hopefully will make you laugh or disturbed...