Wristcutters: A Love Story
Lonely Zia (Patrick Fugit) works in a crappy pizza joint and lives in a shabby apartment. He spends his nights in a dank, badly lit bar. The colours he sees are muted and the people he meets are damaged goods. The world in Wristcutters: A Love Story resembles the hopeless landscapes of other movies about down-and-out anti-heroes. But Zia’s sad town has a hell of a backstory: All the people in it have successfully committed suicide. They’re living in limbo---where the sky is starless and no one can smile. “Everything’s the same here. It’s just a little worse,” Zia narrates. There’s a certain beauty in watching characters who gave up on our world struggle to find meaning in an even more desolate place and the movie hooks you even before Tom Waits shows up, as a semi-magical guy running a camp for the broken (and then keeps you hooked. It’s Tom Waits, people). That’s why it’s sad that the movie’s cop-out ending undermines a lot of the themes that make Wristcutters so engaging. Director Goran Dukic adapted the film from a story by Israeli writer Etgar Keret and a lot of the movie’s neater touches (such as the lack of stars, or the lack of smiles) are Dukic’s handiwork. But he apparently changed the ending, too. I really wish he hadn’t.