much more interesting. Rockwell clearly takes tips from Fellini and makes it into an American original. If you like Bottle Rockets, Strangers in Paradise, Clerks, Bill Hicks, Daniel Johnston, James Brown…basically if you have any soul in your body, you will adore this movie.

Buscemi's cranky Latin-American neighbor Angelica, his secret love interest who he wants to star in his movie. I can highly recommend this movie, if you're a Buscemi fan, it's a "must-see" !

delight who delights in existing from day to day, always ready for an adventure, a surprise, or a bit of crime and a bit of a ca-noodle. Poor Buscemi, who is a dreamer with a script for the "great American movie" and hasn't had much of a life, is at first thrilled to meet the potential film financier Cassel , then becomes a bit frightened of him and in the end realizes he grew as a person and made some friends and possibly can make a more simplified version of his movie after all.Don't want to give much more away. The lovely black and white vignettes, following each other quickly give you a taste of life in a squalid part of New York. It is European in execution, a bit film-noir-ish, but unique, entertaining, and touching.The singing rent collectors are a hoot-!Don't miss it!

the time I see it, I can understand a lot more about Adolfo's vision as an aspiring filmmaker than what is actually said. Such a convoluted vision Buscemi has that is relieved and clarified by his experiences.Such experiences include the appearance of Seymour Cassel's Joe, a fast-talking shyster who promises to produce the film but has his own unique ideas regarding film financing. There are so many realistic scenes between an obsessive, complicated artisan and a simple street guy, intensified by the specific external realities of theirs which clash. There is so much more about Adolfo's emotional state during his exploits with Joe than what he narrates, "Instead of making my movie, I was living in his." Whatever Joe and his intentions may or may not turn out to be, Adolfo now, rather than cloistering in his sketchy NYC apartment synthesizing the styles and thematic elements of his cinema idols, he actually has something personal and profound to say and to write.A low-budget indie feature debut, originally shot in color but released in black and white, it does not play out like an art film. The story is simple, earnest, real. Even when Buscemi narrates and explains in dialogue his ambitious cinematic visions, it is his character who handles this, not the outer film. There are no airs to the dialogue, and many of the peripheral characters are for comic effect. Will Patton seals the deal on Buscemi's interpretation of Joe and his occupation. Stanley Tucci is hilarious as his neighbor Beals' emotional Hispanic husband. And it's refreshingly funny to see Sam Rockwell as a retarded kid with a helmet.Reservoir Dogs was an auspicious debut to match, and though El Mariachi hardly compares to the Tarantino film's writing or star power Rodriguez opened almost as many eyes for its generation to the potential of completely autonomous ultra-shoestring-budget indie film-making as Cassavetes did 35 years earlier. So, I am not partially or rationally surprised that Rockwell's In the Soup was lost under the sudden and violent windstorm phenomenon of those other two simultaneous selections, nor do I think that it's nearly as easy for personal filmmakers to remain consistent with critics and audiences as action filmmakers with more common filmgoers' appeal. Nonetheless, this down-to-earth little gem hopefully holds its own over time.

gone big by this point -- it was brave for her to take this role.This is not so much a movie about making a movie as it is an underworld film. Not a mob movie, exactly, but definitely people of loose character who walk on the edges of society. And yet, there is something rather charming about them.