Too much of everything

People are voting emotionally.

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Teenage angst gets a workout in this film with the principal characters and best friends Enid (Thora Birch) and Rebecca (Scarlett Johannson) going in somewhat separate directions over the course of the story. Even upon high school graduation, their acerbic putdowns of fellow classmates and other unlucky targets position them outside the mainstream, and they revel in the fact. However after agreeing to become roommates upon graduation, it's only Rebecca who seems to buckle down to a level of responsibility by finding a job and getting a bit more 'serious' about impending adulthood. Enid meanwhile stumbles around in an existential haze in an attempt to find that ever elusive 'meaning of life'. As teens and young adults, we might all have been there at one time or another. A cruel prank is at the center of this story as Enid responds to a Personals column by leaving a message for hapless, old-time record collector Seymour (Steve Buscemi). When it backfires, it puts Enid even more at odds with herself for her failure to foresee unintended consequences. I thought it kind of interesting that Seymour eventually entered therapy wearing the green cardigan that he had on when he 'felt a connection' with Dana (Stacey Travis) before ever actually meeting her. That was a telling moment for how productive his sessions might have turned out, as he leaves with his mother and the therapist just rolls her eyes. What I thought the film did successfully was broach a topic in our culture that's become distinctly more partisan since the picture came out, that of attempting to have an honest conversation about racism. It opened a door in the story but didn't take it to any conclusion other than to ostracize Enid even more for trying to make a statement. The ambiguous ending of the movie accentuates Enid's lonesome quest to somehow relate to the world and find some meaning for herself, and leaves little optimism about her finding it any time soon. In a way, she might have been taking the subliminal advice offered on the park bench at the bus stop by temporarily taking herself 'out of service'.

Disaffected teenage outcast Enid (a spot-on snarky performance by Thora Birch) and her equally sullen best friend Rebecca (a marvelously sour and aloof portrayal by Scarlett Johansson) find themselves at a crossroads in the wake of graduating from high school. Moreover, Enid feels sorry for fellow misfit Seymour (beautifully played with lovely hangdog grace by Steve Buscemi) after playing a cruel prank on him.Director Terry Twigoff, who also co-wrote the witty and perceptive script with Daniel Cloves, savagely skewers the stifling conformity of conventional consumerist small-town America, poignantly addresses the basic human need to fit in and belong even if it's on the fringes of society, maintains a splendidly dry'n'deadpan tone throughout, adroitly captures the awkward transition from adolescence to adulthood (Rebecca wants to grow up and get her own apartment while Enid tries to avoid thinking about what she's going to do with the rest of her life), and concludes things on a haunting ambiguous note. Moreover, it's acted with aplomb by a top-rate cast, with especially praiseworthy contributions from Illeana Douglas as ditsy overzealous art teacher Roberta, Brad Renfro as the easygoing Josh, Bob Balaban as Enid's nerdy ineffectual dad, Stacey Travis as the sweet Dana, Charles C. Stevenson as patient old man Norman, and David Sheridan as antagonistic goofball Doug. Affonso Beato's vibrant color cinematography provides a pleasing bright look. Great soundtrack of vintage blues tunes, too. A real treat.

Dear Terry Zwigoff, We often look towards art for comfort. When you're watching some movies, you feel like the characters are like your best friends and that they are talking directly to you. Almost as if the director and the writer know exactly what you are experiencing in your life.Ghost World is that sort of a movie. When the movie ends, you feel like your best friend just left the bar you were both drinking at and talking in the most honest way possible.I have watched this film many times now. Enid is one of my favorite movie characters of all time. She embodies the anomie and acedia that we all experience as teenagers or even as adults. The same is the case with Seymour. I could completely relate to his sense of despair and isolation in a society which is not artistically inclined and lacks moral values.You extracted a terrific performance out of Thora Birch . What an intensely brilliant actress. I was surprised by her choice of films after Ghost World. In 2001, she was definitely the greatest young American actress. Steve Buscemi - well, is he ever bad? Seymour's feelings of insignificance and frustration are perfectly portrayed by Buscemi. Perfect casting, Terry. Every single actor in this film delivers a pitch perfect performance. There are hardly any mistakes. It is almost as if you could hardly put a foot wrong, Terry. Everything from the choice of songs used in the background score to actors in the smallest of roles are simply perfect. What a great director you are. I wish you would make more movies. Ghost World is definitely one of the most important American films of the last 20 years. And my favorite film of all time. (10/10)Ps: Why aren't you making more movies?

An austere, gripping character piece about the future. Highlights include an excellent scene in a club that nails the American outlook on life; and it being a gritty, hard movie about gritty hard people, but it's also intelligent. The acting is very effective. From an artistic standpoint, there were some plot elements and character developments I didn't think were totally needed. They do however drive the story, which seemed to be their purpose, so I can accept them. Buscemi was unfairly overlooked at awards time. The film is unrelentingly dark, both in camera action and in storyline. The cinematography is stark and bare, with only the soundtrack adding some effect.