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THE NINES is a film that may seem like a tough myth to follow, but the view and the ‘autobiographical’ script by the gifted John August are so pleasing that once seen, this film demands re-visiting. It is tremendously arresting, blessed with a top-notch cast, and offers food for understanding far beyond the running time of the film. For this viewer it falls into the ‘brilliant’ category.

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More of an existential consume than a ancient movie account, THE NINES has the courage to challenge our understanding of that is the loyal world, what is fantasy, what exists beyond our view of our ’space’ here on planet Earth, and objective how important is the new obsession with television reality shows and videogames on the diagram we are stuck in the exhibit. John August explores these issues by interweaving three stories, using the same actors to change vantages and personalities to raise questions and pose problems for the audience to attempt to choose. It works.

Part I (’The Prisoner’) views the life of a celebrated television personality Gary (Ryan Reynolds) who naïvely takes on a ‘crack’ inch that results in a house arrest controlled by a jovial officer Margaret (Melissa McCarthy) and whose only outlet is a neighbor Sarah (Hope Davis) with whom he has a seductive affinity: while both women appear sincere, events occur that originate their existence questionable to the crack-addled Gary. In Portion II, ‘Reality Television’, Gavin (Reynolds) is a television writer attempting to regain his pilot film common by executive boss Susan (Davis), but falls into jumpy times when he is told his best friend Melissa (McCarthy) must be dropped from the project. In Fraction III, ‘Knowing’, Gabriel (Reynolds) is a gentle videogame creator, happily married to Mary (McCarthy) with a daughter Noelle (Elle Fanning) who has been weaving in and out of the film as different characters, gets stuck in a forest and in attempting to peer befriend encounters Sierra (Davis), a queer woman who finally approaches the possibilities of Gabriel’s ‘mission on earth’. The title of the movie becomes apparent when Sierra informs Gabriel that while God is a 10, human beings are only 7s, koala bears are 8s because they control the environment, and Gabriel is a 9 - an extraterrestrial being in a human incarnation to test the goodness of the earth. How this information affects Gabriel and how the legend is resolved is yet more of the knowing employ and joy of THE NINES.

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Ryan Reynolds is extraordinarily delicate in his three roles: he is a far better actor than the usual films he makes would reveal. Hope Davis and Melissa McCarthy are as always reliably great. But the magic of this film comes gain the mind and direction of John August who thankfully gives the audience powerful to ponder. It is a gem of a film. Highly Recommended. Grady Harp, February 08

NOTE: Some of the reviews here (like the one below by Grady) spoil the movie by basically giving you a situation synopsis, including the epiphany towards the slay. Read some of the reviews here with caution.

John August is someone who impressed me relieve in 1999 with a witty script for the zany ensemble share entitled Go. Directed by a up-and-coming director by the name of Doug Liman (Bourne Identity, Swingers), Go offered a straight-forward epic that was constantly hooked due to a change of perspective as we saw the sage from different characters. The method it weaved in and out made the movie a lot more keen that it probably should have been.

Now, we have The Nines, not only written by John August but also directed by him, and it shares a few similarities with his broad debut, Go. However, it’s infinitely more absorbing, colorful and frustrating than Go could ever be. The Nines is comprised of three short stories featuring Ryan Reynolds, Melissa McCarthy and Hope Davis playing different characters.

The first film has Reynolds playing a blockbuster actor who is in house arrest, with McCarthy playing a publicist and Davis the next door neighbor. As the scenario continues, Reynolds’ character becomes convinced the house is alarmed. The second film has Reynolds as an effeminate TV screenwriter who is being followed around by a reality TV camera as they film his progress to compose a pilot. During this, McCarthy plays Reynolds’ best friend while Davis is a TV exec. The final scenario has Reynolds, a high profile video game designer, married to McCarthy. Their car breaks down in a forest and when Reynolds goes to gain benefit, discovers Davis.

The scheme the film works is that each episode builds on each other, presenting a different perspective while also sharing current themes. The scheme the puzzle pieces fit together and the epiphany towards the kill of the film creates a startling unusual rob on the film as a whole. August does a terrific job of creating popular themes and a central thread that goes between each episode and even when it’s over and you unexcited aren’t quite distinct what happened, you never feel cheated.

It’s a very heady film that’s more colorful than a lot of films that allotment similar themes. While I can’t reference the particular films without going into heavy spoiler territory, I will say that The Nines touches on religion, philosophy, technology, reality and how everything intersects. It also seems intent on discussing life as a whole and the entire idea of creation and creators. It’s no coincidence that all of the scenarios are based on people living a positive kind of reality that is more “reelity” than “reality.”

The weight of the film rests on the shoulders of the terrific cast. Reynolds, in particular, shows that he’s more than Mr. Van Wilder and plays three starkly different characters with aplomb that belies his earlier roots in teen comedy. This is by far his best role and it was unbelievable watching him in these three roles. Meanwhile, The Nines also shares an actress with Go: Melissa McCarthy. She steals the present and is a ray of light in every scene she’s in. Hope Davis is always appetizing, and her characters play a very captivating role in the myth as a whole, but, for me, McCarthy is tops.

The Nines is a film you’ll want to notice with people who you can have an colorful conversation with. It’s a complicated film that, unlike so many today, doesn’t provide you with all the answers. Even when the resolution occurs, you won’t have all the pieces in your hands. Watching the included short film is as conclude as you’ll advance to an acknowledge. So, the best bet is to peer it with people who will want to talk about it, because The Nines is definitely a talking-about film.

I’d definitely recommend it to fans of metaphysical puzzles and movies that don’t provide easy answers. An shining, thoughtful and arresting film.
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