This is like some crazed version of the Salinger family of cognoscenti in Franny and Zooey; all members destroyed and genius blighted by the neurotic legacy of the mother's will to survive the KZ experience in 1945. Bisset plays the mother who suffered the Sophie's Choice of seducing her executioner-doctor with sado-masochistic sexual rompings in order to survive and make a family in New york with two sons both of whom are dripping with potential but who have had their genius crushed by her wild and uncontained rages. The provider father is a shadow of a man who cannot control his wife's mental devolution nor his sons' actual contempt for him.

With stilted monologues and dialogues their raisons d'etre paint them as hollow people pretending to cope with a meaningless set of unhappy lives.

The one shocking curiosity is that the end of the film houses a prolonged scream of orgasmic satisfaction which stems from the aged mother now visited again by her Camp doctor as she is finally set free of her morbid longings with a wholehearted indulgence in what she has missed all these years. Out of a Mephistophelian debacle comes a renaissance of the evil promise; all the evil caused by her moral turpitude is 'excused' with this one long drawn-out scream of sexual satisfaction. Worth a watch if only for the daring moral tightrope walking ...

This is one of the movies which will be loved by those wannabe intellectuals, because it appears profound, alternative and provoking. It offers a lot of opportunity e.g. for a class to discuss the problems and personal backgrounds of each character and their histories, but after all it's just very average and way too pretentious.

About the plot: It starts off very good and interesting. Our protagonist talks about life in general, people, expectations and how to deal with that in life. His monologue pisses off his one-night-stand so badly that she gets dressed immediately and leaves.

The movie switches inbetween three timelines: Childhood: He and his neurotic brother grew up with a mentally deranged mother and a father who couldn't keep her from snapping. That's the first of the timelines. You'll see the mother snap, scream and shout, destroy their kids' room for some bogus reason. Scenes appear very depressing (and annoying).

Concentration Camp: The mother survived a German concentration camp by sleeping up with her angel of death, some German concentration camp doctor who apparently lets her live because she has her body to offer as a reward for that. In this time snipplet, you'll most likely see them have sex, have dinner, dance or do other couply stuff that doesn't seem very romantic, but also very depressing and pretentious. The last scene of this time period shows the mother cry over her doctor leaving, because the russians were coming. She gets a hold of herself again. But it appears that she never really got over that separation.

The here and now: Most of the movie is set in the present. The mother still snaps every once in a while and destroys inventory, her husband still doesn't have the guts to do something about it, her first son (the main character) gets conned by his new business partner and sleeps around with a lot of women while the second one has a weird eating disorder. The mother meets her concentration camp entertainment again, just for the masochistic sex, which her son likes too, by the way. The neurotic son doesn't seem to ever have had sex, so he stays at home and plays the piano.

All this may seem very depressing and annoying, and it is. The question I have been asking myself the entire movie, is 'What is the writer trying to tell us?' - And honestly, I have no idea. The movie ends very sudden, while the plot doesn't really thicken. There are just those three stories told, and of course their history: Protagonist gets stabbed by his masochistic Asian lover, although it might have been just regular sex, judging from previous scenes. Mother meets her doc again in a hotel and has sex with him. Brother breaks most of his fingers smashing the flap for the piano keys shut with his hand inside.

There are still some weird scenes showing human body parts being cut, a human brain being BBQ'd, some more of this weird stuff without any connection to the already very weird plot. I don't even know how to comment on these scenes, so I just chose to ignore them.

On the whole: Personally, that was a waste of my time. I was waiting for the movie to resolve some of the plot parts that seemed intriguing. That is by the way the only reason why I gave it 4/10 instead of just 1/10.

If you like dark and wannabe meaningful movies, go ahead and waste your time. If you want to be entertained, don't watch this movie with any of your friends, that you'd like to have a fun night with later on.

Our Jewish Mom (Jacqueline Bisset) did what she had to do to survive the concentration camp. She has raised 2 sons in NYC. Josh Lucas works as a fake agent for acting and models. He opens the film with a long boring monologue about flesh, growing old, and losing without getting. It was so depressing even his girlfriend walks out on him. His brother (Lukas Haas) plays the piano, but can not function on his own. Josh works with Adam Brody who is ex-Mormon and seems to glide through life. The two brothers bear the emotional baggage and "carry the sins" of the family.

The film is filled with stand alone lines like "Marriage is about what people need and not what they want." and "We despise what we know." This production is more of an art/indie style film. I thought the ending was messed up. Good for indie lovers, the rest might want to skip.

Guide: F-bomb, sex, nudity