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Directed by Richard Linklater
In the same year that filmmaker Richard Linklater explored the possibilities of image manipulation in digital filmmaking with Waking Life, he also embraced the new medium's potential for creating intimate character portraits under confined circumstances with this feature, based on the play by Stephen Belber. Johnny (Robert Sean Leonard) is a 30-year-old filmmaker who is enjoying a recent run of success and has returned to his old hometown of Lansing, MI, to show his latest project at a film festival. While in town, Johnny pays a visit to Vince (Ethan Hawke), an old friend from high school who is staying in a nearby hotel. Vince has never had a knack for responsibility and these days scrapes together a living as a low-level drug dealer. Johnny and Vince discuss their lives, with Johnny more than a bit judgmental about Vince's current situation, when the conversation turns to Amy (Uma Thurman), a girl who was Vince's girlfriend through much of high school and who Johnny dated for a brief spell afterward. Johnny confesses that he hasn't thought about Amy in ages, but Vince informs him that she's living nearby, then begins firing a series of increasingly pointed questions at him about his relationship with Amy, concluding with the shocking accusation that Johnny once raped Amy at a party. Like Waking Life, Tape was entirely shot using digital video equipment, and director Linklater remained true to the story's origins as a stage play, using only three actors and one set for the entire film. Both Tape and Waking Life premiered at the 2001 Sundance Film Festival. ~ Mark Deming, All Movie Guide
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Review by All Movie Guide
All Movie Guide
is neutral about it.
Of the two 2001 releases churned out as director Richard Linklater became drunk on the possibilities of digital video, Tape is by far the more unassuming -- filmed plays are sort of a staple for maverick directors -- but the movie's use of inexpensive technology to bring resolutely uncommercial material to the big screen is in many ways as exciting as Waking Life's revolutionary rotoscoped animation. (Both films appeared at the 2001 Sundance and Toronto Film Festivals before their fall theatrical releases.) Stephen Belber's one-act source material may, at first, have the air of a hot-button graduate thesis project committed to film, but Linklater and his trio of performers find ways of envigorating the material without resorting to actorly grandstanding and trumped-up technique. As the script invites the audience's loyalty to shift from person to person, Ethan Hawke, Robert Sean Leonard, and Uma Thurman all manage to generate some degree of sympathy even as the plot rightfully keeps them at arm's length; they're all identifiable human beings, thanks to Linklater's deft, improvisational method. The director at times seems a little too enamored with his newfound ability to over-shoot a scene -- the quick cutting, multiple angles, and whip pans grow a little tiring towards the end. Still, by lending Tape a vitality and athleticism it might not have had on celluloid, Linklater's use of digital video proves to be not just a financial necessity but an artistic one. ~ Michael Hastings, All Movie Guide
 

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