Twenty-one years ago, Todd Solondz became the misanthropic darling of the indie scene with his deadpan coming-of-age tale Welcome to the Dollhouse. He’s been churning out more or less the same movie ever since. At 56, the writer-director still seems interested in being an enfant terrible, but his films have lost whatever shock value they once had. They’re predictably “provocative,” which, of course, makes them not very provocative at all. In his latest anthology of cynicism, Solondz gathers a sterling cast and put them through a wringer of unhappiness.
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