Feature Review | Roger Dodger
Written by: Brian Orndorf

The battle of the sexes has never seemed quite as repellent as it does in Dylan Kidd’s new film, “Roger Dodger.” Taking a Neil LaBute look at how one man perceives women, “Dodger” is blessed all over with a great cast and script. But like early LaBute, do you really want to take this journey?

Roger (Campbell Scott, “Singles”) is a bottom-feeding ad copywriter who has lengthy and over thought discourses on the female gender for any occasion. Having just been dumped by his boss (Isabella Rossellini), for another co-worker, Roger hits the New York nightlife, as always, looking for love in all the wrong places. But tonight there is a wrinkle in the form of Nick (Jesse Eisenberg), Roger’s 16 year-old nephew. Nick wants to know how to score with women, and he’s come to Roger for all the answers. And over the course of this one night, Nick get to witness a little more than he had planned as Roger shows him the ways of his seething lust.

The prospect of spending time with a lothario such as Roger would normally not be a good one. Having been deeply disappointed by LaBute’s contemptuous “In The Company Of Men” - which basically treads essentially the same ground as “Dodger” - I wasn’t expecting too much could be accomplished with the film. But first time writer/director Dylan Kidd has something up his sleeve in the form of a delightfully literate script, and healthy performances from the most unexpected places. “Dodger” plays out like one long night at the bars, with all the principals starting out convicted and assured, but ending up the night in the gutter, fully aware of themselves. LaBute rubbed your face in it, Kidd plays with it. “Dodger” has no major surprises, but there is enough character nuance in the writing to make it compelling fiction. The lengthy dialog also makes the time fly by fast, investigating the depths of one man’s obsession with his manliness. When it wants to be, “Roger Dodger” is interesting stuff, but sadly falls below true gospel.

In what could be his finest role, actor Campbell Scott absolutely nails his take on Roger. A festering lout of a man, Scott climbs into Roger willingly, and is able to find the corners of the character many could not. Scott, an uncomfortably calculated actor, is marvelous in the film, even managing to overcome Kidd’s less than believable scripted climax, and a slightly annoying jitteriness from actor Eisenberg. Also of note are supporting actresses Jennifer Beals and the notorious Elizabeth Berkley. The actresses shine as the only two women stupid enough to sit down and talk to Roger and Nick. But their time in the film is far too short, only taking up a large chunk in the middle of the picture. When a film could use a little more Elizabeth Berkley, you know they’re doing something right.

What I couldn’t figure out is why Kidd would allow his picture to be photographed so murkily. The film takes place inside and around nightclubs, thus hindering chances for bright lights. Cinematographer Joaquin Baca-Asay doesn’t rise to the challenge, and shrouds every actor in darkness. This isn’t terribly helpful to the acting process, and ruins a couple of scenes that require the audience to see the characters’ reactions. There is also a inordinate amount of hand-held camerawork, but, regrettably, this seems to have become the standard for films of low budget or static locations, both of which apply to “Roger Dodger.”

While you won’t come out of the film with any type of respect for the male gender, “Roger Dodger” is well-written, acted, and thought out enough to give you hope that this isn’t the truth out there on the dating scene.

Grade: 7 out of 10