6.21 h 22 min2005R
After visiting a fortune teller, Edmond realizes his life is not the one he desires. He decides to flee his previous existence and pursue a new life. Edmond meets a man in a bar who gives his advice that launches a series of mishaps that ultimately guide him through the search for his humanity.
Stuart Gordon
William H. MacyJoe MantegnaDenise Richards
English [CC]
Audio languages
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Supporting actors
Julia StilesMena Suvari
Chris HanleyMolly HassellDuffy Hect
R (Restricted)
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3.8 out of 5 stars

174 global ratings

  1. 55% of reviews have 5 stars
  2. 11% of reviews have 4 stars
  3. 9% of reviews have 3 stars
  4. 6% of reviews have 2 stars
  5. 18% of reviews have 1 stars
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Top reviews from the United States

Sleepy RomanistaReviewed in the United States on January 6, 2018
4.0 out of 5 stars
I don't understand the confused hostility about this movie.
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I'm a little shocked by the number of people who chose this movie based on the synopsis and then were offended by it delivering exactly what it claims and destroying its rating. The violence and racism is not gratuitous or for shock value. Like the play it's based on, it's a mirror opposite presentation of the morality it wants to condemn, not behavior it's glorifying. It's a commentary on the destructive results of racism, social stress and the violence and craziness they can create. Even during his worst rants, he peppers his diatribes with "We're taught to hate." and more that show his conflict. There are societal messages in a almost everything he does and happens to him, from middle aged complacency to a world where his inadequacies are constantly in his face and he is constantly being dismissed. The whole point to the movie is the final few scenes where Edmond, perhaps for the first time in his life, finds peace through acceptance, and in the most unlikely place with the most unlikely person. Society and expectations were the underlying evils, not his direct acts. It was never meant to be just a story about a murderer. Hopefully this will help some people trying to decide whether or not to watch it to go in with right expectations. It's not for everyone, but it certainly isn't what a lot of these reviews make it sound like.
34 people found this helpful
D. LarsonReviewed in the United States on February 23, 2019
1.0 out of 5 stars
You keep watching just to see if it can actually get worse
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And it can. And does! I suppose every actor with any resume has movies he would like to permanently delete from his filmography. I’d hope William Macy regards this mess as one of those. Art house film school stuff of the first order, except that it was made not by some kid fresh out of film school but by Stuart Gordon!

I respect Stuart Gordon’s “Reanimator” above all other H.P. Lovecraft “adaptations.” And “From Beyond” isn’t half bad either. But as much fun as those pictures are, “Edmond” is just straining so hard to be outrageous, with no leavening of black humor. It’s just silly and pointedly offensive to little effect.

Your take on “Edmond” may depend on your tolerance for Mamet-Speak. My tolerance is low. Others will differ. They are wrong.

Mamet-Speak is, involves, of course, actors rapidly shouting speeches at each other, the sort of anti-naturalistic speeches that no living person has ever spoken but which serves in David Mamet plays to convey just how intensely the characters are feeling whatever’s bugging Mamet at any given moment. Fast, loud blather, preferably profane, obscene, misogynist or racist or some combination of those. It’s all supposed to sound important. And manly. To these ears, it sounds phony as all heck. Real people don’t talk like that.

In “Edmond”, the prime example is an extended and tiresome speech William Macy hollers at a waitress he has wish fulfillment-ally picked up at a bar; picked up a woman exactly half his age, in fact, and that with blood all over his shirt and the signs of a beating on his face. But, he’s in “good shape”. So she takes him home with her.

Then, after implied intercourse, Macy then stalks around the girl’s apartment for fifteen minutes, hollering speeches about, I dunno, existentialism or something. All the while wildly brandishing a bloody knuckle-duster/combat knife. The young lady does not do what any other young lady would do, i.e. run like hell and call the cops. No, she hangs on every word of Mamet-Speak until the knife, like Chekov’s gun, does what it’s required to do.

It’s a ludicrous scene from a bad play. A Mamet play. We are also supposed to believe that Macy, a man giving his age as 47, has lived all this time in a city which appears to be entirely a vast red light district but he has no idea how a peep show works, has never been to a strip club and doesn’t have a clue about the rules, and despite ranting at random strangers in bars about the N-words in bars, Macy happily offers money to pimps and hookers in dark alleys. He’s never heard about any of these vices, apparently. Which is why he’s so bad at them.

Also, Macy’s transition from office drone to obsessive poon-hound takes place within five minutes, and is triggered merely by having an appointment rescheduled. Throw in some anvilicious Tarot card readings, and we’re off to the degradation races.

And then the prison experience, which lets Macy deliver yet another extended man-to-man Mamet-Speak session with his cellmate, the kind of pseudo-macho college dorm bull session interchange that’s somewhere between cringe-worthy and unintentionally (I assume unintentionally) hilarious.

Macy’s hangdog expression is supposed to represent the anomie of the middle class office worker, I guess, but it’s really tiresome. He delivers his racist rants without convincing us that they’re not just lines from a bad stage play. In other movies, his rubber features and rueful smile can be charming. Here, not so much.

The name Macy got me to click on this turkey; stubbornness kept me watching to the end, hoping there’d be some sort of payoff. I mean, he’s done so much good work in so many movies. Not this one. Also, the Amazon stream was terrible, freezing just about every two minutes and pixelating in between.

I was not impressed. Other viewers? Depends on if you thought "Glengarry Glen Ross" was vital and important, or just self-indulgent actors' studio hollering. If you love a Mamet with a side of race baiting, maybe "Edmond" is for you. I'll wait for the next one.
13 people found this helpful
EmReviewed in the United States on November 26, 2019
5.0 out of 5 stars
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It's depressing how many people think this is a bad movie.
That's life I guess.
David Mamet's play of course is genius. He carries on the tradition of stream of consciousness expression from Virginia Woolf and Iris Murdoch, masters of the human psyche.
Maybe aliens are dogs, maybe humans are? There's only a gossamer web of civilization distinguishing us from our primeval urges.
This movie explores what happens when a man living a life of quiet desperation breaks out (not breaks free) of that life. For once he follows his id encountering temptations in the form of pimps, card sharps, whores galore (sex and money) and the generic man in bar to whom you tell your life story secure that you'll never see him again.
Edmond ridiculously goes rogue because of a fortune teller. He doesn't drive his destiny. He is tossed about by the stronger beings, just as he is forced to conform by his cellmate.
There's so much more but I've got a full time job (lol). Just know that David Mamet, William H Macy and Joe Montegna are a match made in heaven and hell.
7 people found this helpful
Allen Garfield's #1 fan.Reviewed in the United States on August 25, 2021
5.0 out of 5 stars
A must-see. David Mamet and Stuart Gordon reunited!
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This review is for the 2017 edition, identical to the 2021 edition, despite the product description(s).

At once riotously funny, tragically bizarre, and ridiculously revolting, “Edmond” will surely have some viewers fidgeting in their seats. Few films have the power to annoy and disgust, while also generating enough curiosity to stick with the journey just to see what could possibly happen next. Perhaps this is the weight of such a collaboration as director Stuart Gordon (“Re-Animator,” “From Beyond” and "Stuck") and playwright David Mamet (“The Verdict,” “The Untouchables” and "Glengary Glen Ross"). Gordon and Mamet are no strangers: Gordon directed debut "Sexual Perversions in Chicago." in the early 70s. It was later adapted to the screen as "About Last Night." A welcome reunion!

One day after work, Edmond Burke (William H. Macy, Fargo) happens upon a fortune teller who tells him he is “not where he belongs.” Taking the advice to heart and reevaluating his life, Edmond returns home to tell his wife (Rebecca Pidgeon, The Spanish Prisoner) that he no longer loves her (and had in fact grown tired of her long ago) and will be leaving and never coming back. Aghast, she promptly throws him out. Edmond then embarks upon a treacherous journey of self-discovery through New York City’s seedy underworld, encountering prostitutes, pimps, strippers, murderers, thieves, and aspiring actresses, which slowly wear away at his sanity, sending him into a downward spiral of self-destruction and violence that will drastically alter the course of his life – and possibly lead him to the answers he’s been looking for.

“Edmond” is essentially a character study, with the title character undergoing an awkward and brutal quest toward acknowledging identity and uncovering the meaning of human existence. In the process, William H. Macy creates a persona unlike any other, brimming with energy and psychosis, liberated through his own unbalanced, overwrought thoughts. At first confined by society’s requirements, he learns to let go and act without fear of consequences – a revelation as rewarding as it is dangerous. Macy releases countless frantic emotions through Edmond, further validating his diverse and impressive acting talents – and also evoking compassionate concern for the bumbling antihero’s imminently catastrophic future.

An equally impressive supporting cast brings Mamet’s play-turned-script to life, most notably led by Julia Stiles as Edmond’s first real love interest, a waitress and wishful actress whose fickle instability mirrors Edmond’s own schizophrenic indecisiveness. And Denise Richards (Wild Things), Bai Ling, and Mena Suvari (American Beauty) all humorously portray prostitutes whose earnest intentions perfectly parallel Edmond’s severe sincerity. And even Gordon regular Jeffrey Combs makes an appearance as a desk clerk. Also, look for Debi Mazur (Trees Lounge, Goodfellas) as a brothel hostess.

Though intelligently scripted throughout, many of the events in “Edmond” are might be far too uncomfortable and bleak for many moviegoers. The first half of the film is an exercise in perfecting pitch black comedy and wry social commentary, but unexpected violence midway through throws this speeding train of bottled emotions and pent-up rage off course enough that viewers will certainly feel the derailment. The exceptional acting and smart dialogue never falter, but the sudden deviation in tone and imagery is impossible to recover from for many viewers. Despite such a promising start, the markedly deranged conclusion will feel anything but satisfactory for most (even if Edmond believes he has found the sort of peace he’s been looking for) and, like a literal train wreck, it’s the kind of thing that is difficult to turn away from.

Two separate commentary tracks:

One with Gordon and crew members and one with Mamet.
JimmyCanDoReviewed in the United States on March 10, 2019
5.0 out of 5 stars
Another well done script from David Mamet w/solid acting & directing ...
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David Mamet wrote another tight script with this movie. Strange, bleak and beautiful film that looks like it takes place in New York City, but was actually filmed in skid row of Los Angeles. All the characters are quite believable. And it moves along at a steady, even pace - it doesn't feel like it slows down at all. It's a look at someone when emptiness takes over. Well done. If you like Mamet's work, watch it. It you like good film making and good acting, you'll want to watch it too.
6 people found this helpful
Kenneth R. MyersReviewed in the United States on June 6, 2019
4.0 out of 5 stars
Sort of like a dark comedy,..cross Very Bad Things with Fargo with After Hours maybe?
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People compare this to Falling Down, but I don't think they are very similar. Falling Down as I recall was sort of about a man who represented the moral compass of America in the 50s personifying the frustration with the decline of American society over subsequent decades, unable to shift and cope with the change where instead of being the respected breadwinner of a loving family unit with a doting wife and kids in the home, he's an unemployed divorcee.
His "journey" in the movie is essentially involuntary. However, Edmond is about a guy who is fed up with his own personal "rat race" and intentionally seeks change, which is more like Kevin Spacey in American Beauty or Edward Norton in Fight Club. Not that Edmond is like either of those movies, but the similarity to Falling Down just seems superficial to me.
The movie has a dark comedy feel where things just keep getting worse, like Very Bad Things. Except the comedy in Edmond is subtle to the point of being almost non-existent. Also, I felt Very Bad Things went so over-the-top with "how bad can things get" it became just shocking for the sake of shocking with no depth. Edmond goes to dark places, but I never thought it got pointlessly grotesque or tried to just shock the audience just for the sake of shocking them. It is an intelligent movie, In tone, it is is not overtly humorous, but there's a bit of humor just in the character interactions similar to, say, Fargo.
It was not perfect, some acting was wooden, some dialogue seemed a bit incestuous, but overall I thought it was very strong. It makes you think about deep stuff, human nature, racial attitudes, etc.
I actually felt there was some odd choices with the racism of the main character. When the main character (Macy) gets infuriated with a black mugger and winds up calling him the n-word and other racist slurs, it felt like the writer is suggesting the typical white man in a suit harbors a racist within him ready to scream to lynch the n-word as soon as he feels threatened by a black man, and I do not think that is accurate. But it is provocative and makes you think, even if it's not "typical" attitudes (like American Psycho makes you think). And when he tells a young white woman about his encounter and she jumps on the "Let's be honest and admit we are scared of black people" bandwagon, that seemed again to be unrealistic, as I don't think every white woman (particularly younger) harbors an inner truth of being fearful of black people. The fact that earlier in the movie some white guy, a stranger in a bar, started a conversation with Macy that was pretty damn racist, about black people being bred to have different attitudes in life, and there was a LOT of implied commentary about race relations in the movie, and that is probably what I found weakest and most contrived in the movie. You could take race completely out of the movie and what's left would still work as a provocative story about human nature as reflected by one troubled man's travails, and might even be stronger.
Anyway, don't see this movie expecting to laugh, but it had a strong sense of irony throughout it that kept it having a humorous vibe. In the end, I thought it was very good and interesting, and definitely NOT just throwing out stuff for shock value.
3 people found this helpful
mositaReviewed in the United States on March 4, 2020
3.0 out of 5 stars
A Happy Ending After All!!!!
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This was an outrageous story about a man so self absorbed he cannot understand why people do not want to constantly listen to his boring philosophies of life, death, or whatever!!!! He becomes so angry that he becomes violent!! Come on....life is too short to worry about philosophizing to entire strangers and expecting positive results!! Also, I think Edmond had very poor choices of "associates" after he leaves his wife! I do love William H. Macy and he plays these confused characters very well, ala "Fargo"!! But, all is not lost. After many years in prison, this story has a happy ending because after many years, Edmond has found love and companionship and a captive audience with his understanding cellmate. Ain't love grand!
2 people found this helpful
TBReviewed in the United States on March 29, 2020
1.0 out of 5 stars
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Because of the extremely racist and antigay dialog in the beginning I knew exactly how the movie would progress, because you cant say those things without the proper twist at the end to make everything right and PC. Its an old formula. I sat through it because of Willam H Macy and Julia Stiles, but what a waste. Nothing shocking in it either. Just dull.
2 people found this helpful
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