Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

HomeyTao For having a relatively low budget, the film's style and overall art direction are immensely impressive.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Yvonne Jodi Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

nickdoff There are a lot of in-jokes and the script is quite dense so for me really benefited a lot by a second viewing.This film is definitely "Marmite"> You will notice pretty well all of the prior reviews are either highly praising, or castigating. Personally I feel the film has flaws, but the more you see it the funnier and better it gets - not many films stand up so well to repeated viewings.Duncan Ward is one of the wittiest directors. He comes from the art world being both initially a video artist, art collector, whilst also honing his directorial skills in the lucrative world of commercials. He married Mollie Dent-Brocklehurst, the gallery professional / owner who had links to the world famous Gagosian Gallery, Abramovich and many other colourful characters and respected (and not by some) galleries and people. So there was no one with a better view of the art world to have made and written the Screenplay than Ward!

graham-ashby I couldn't finish this. I was expecting a comedy, but not a single titter. The plot seems to involve getting a Mondrian from an older couple who need the money, but that seems to be it, apart from some rambling character development. But there's not much development, and not much of a plot.But there is Sex. Lots of it. Crotch shots; innuendo; sex toys, lesbian action. However, given the calibre of actors involved, not quite what I had in mind.So, a waste of time really. Wasted acting, and definitely no laughs.

charlytully Featuring a de-fanged Christopher Lee (in one of his final roles) as a stubborn but dying owner of a Mondrian painting worth up to $30 million, and Mulder-less Gillian Anderson (whose files here are more likely to be triple than single "X"), along with the passing of the roller skates from infamous BOOGIE NIGHTS "roller girl" Heather Graham to on-screen skating newbie Amanda Seyfried, director Duncan Ward's ensemble flick BOOGIE WOOGIE has features bound to intrigue nearly everyone. Modern art credits for movie usage include Jake & Dinos Chapman, Gary Hume, Constantin Brancusi, Banksy, Gavin Turk, Danny Moynihan, Jessica Craig Martin, Faile, Sarah Lucas, Michael Landy, Robert Gordon McHaig III, Sam Taylor-Wood, and Jim Lambie--all curated by Damien Hirst. Worth the price of admission is the verbal deconstruction of a divorcing couple's collection, including pieces by Picasso, Smith, Kelly, Judd, Flavin, Brancusi, Warhol, Beuys, Hockney, Magritte, Struth, Giacometti, Lucas, Katz, Mapplethorpe, Bacon, Emin, Currin, Landy, Hirst, Rusche, Barney, Dogan, and "the Jew in the library," accomplished through inter-cut parallel scenes between the wife and her thrice-divorced confidante, counterpointed by the conversation between the husband and his divorce lawyer. Plus there's nude chicks.

Riveter If you enjoy watching bad people go down in flames, this film is for you. First-time director Duncan Ward shows a deft hand managing multiple story threads set against the malodorous intestinal cavity of the contemporary art world, while John Mathieson's photography, pleasing to the eye as always, works splendidly with the up-tempo jazz phrasings of composer Janusz Podrazik.A sterling ensemble, led by Stellan Skarsgard, Gillian Anderson and Danny Huston, keeps us guessing and amused as lives and careers unravel. Special kudos to Jaime Winstone, who in the role of a fiercely ambitious performance artist looking to carve a name for herself, delivers the film's strongest performance. We are treated also to appearances by Christopher Lee, Joanna Lumley and Alan Cumming -- the film's most likable characters -- whose upright aims provide elegant counterpoint to the opposing riffraff inhabiting the story.The film's only noticeable weak spot lies in the characters of Beth, played with limited effect by Heather Graham, and Joany, played by Meredith Ostrum, who seems to be impersonating a tree. Otherwise, a fine independent film. It will be interesting to see what Ward comes up with next.