May 24, 1996
WELCOME TO THE DOLLHOUSE was a big deal at the time. It won the Grand Jury Prize at Sundance with its brutally relatable, darkly funny portrait of the cruelty of children and the pain of not fitting in. It became a surprise hit and introduced moviegoers to an exciting new voice, writer/director Todd Solondz. Luckily nobody knew about his more Woody-Allen-like 1989 debut FEAR, ANXIETY & DEPRESSION, in which he starred as a neurotic playwright.
This is the story of Dawn Wiener (rookie Heather Matarazzo), a friendless seventh grader in suburban New Jersey. I love the opening scene, which vividly captures the terror of being an awkward kid in a noisy middle school cafeteria trying to find somewhere to sit. There’s a diabolical spin on a trope because she finds gloomy burnout Lolita (Victoria Davis) all alone and joins her, though their interaction is cold. When a group of giggly cheerleaders come over to ask, “Hi Dawn, sorry to bother you but we were just wondering, are you a lesbian?” we know in our bones that this freak is supposed to defend this geek. She’d rather stay out of it but she feels bad enough for Dawn or just has enough disdain for the cheerleaders to step in, tell off the bullies and become Dawn’s unlikely friend and protector. And it will be so moving. Except that doesn’t happen at all. Lolita joins in with the taunting and goes on to become Dawn’s worst bully. (read the rest of this shit…)
Your mileage may vary, but I loved 
Now that I’ve seen SEVEN PSYCHOPATHS I understand why the ads made it look so dumb: it’s too hard to explain. They made it look like some corny post-Tarantino “isn’t it funny, they’re hardened criminals but they’re arguing over a Shih Tzu!” type bullshit. And that’s in there – writer/director Martin McDonagh (IN BRUGES) is about the only guy whose style can remind me of Tarantino in a good way – but overall it’s weirder and more distinct than that.
