Waste of time

A Masterpiece!

One of the most extraordinary films you will see this year. Take that as you want.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Elektra Luxx (Carla Gugino) is an L.A. porn actress who is horrified to find she's pregnant from rocker Nick Chapel (Josh Brolin). Nick dies in an airplane washroom having sex with flight attendant Cora (Marley Shelton). Elektra gets stuck in an elevator with Doris (Connie Britton). Doris admits to having a baby with her meth-dealing crazy boyfriend. He got arrested and she left her baby with her sister Addy. Addy has taken Charlotte as her own daughter. Charlotte is in therapy with Dr. Maxine McPherson (Sarah Clarke). Abby is having an affair with her husband Travis (Simon Baker). Holly Rocket (Adrianne Palicki) is a fellow porn actress who does work with call-girl Bambi (Emmanuelle Chriqui). Bert Rodriguez (Joseph Gordon-Levitt) is a sex blogger.Like most interconnected multiple-storied movies, there are some characters that are more interesting than others. On the whole, I find enough to compel me to keep watching. The McPhersons' marriage problem is a little tiresome. I like the wild adventures of Adrianne Palicki and Emmanuelle Chriqui. They have a Thelma and Louise vibe. Elektra serves more as the connective tissue. Doris has a nice scene with Charlotte.

Gugino, Palicki, Britton and Chriqui. Nice! But then, also Isabelle Gutierrez. Oh no. Nepotism deals another blow.Not one, not two, not three, but four terrific-looking, sexy actresses in this one, and that's reason alone to watch almost any movie. After all, who wants to see Meryl Streep, Glenn Close, Kathy Bates and Anjelica Huston in some damn overrated chick-flick-masquerading-as-deep-drama garbage? Not me. I'd rather see Palicki, Britton, Gugino and Chriqui - in just about anything (or preferably out of it).I do have some beef though with the utterly inane casting of Britton's daughter. Does Connie look like she could possibly give birth to THAT? One look at Isabelle and you just know she's a nepotistically infiltrated stink-bomb of the worst kind. The kid can't act to save her chubby, thin-lipped life, and looks more like something that would spring out of the fawlty loins of a Laura Dern or Jennifer Aniston than a freckled beauty like Britton.Isabelle Gutierrez, to be exact. Guess who wrote/directed/produced WIT? Sebastian Gutierrez. Just like an incurable optimist to cast his own daughter/niece/whatever, hoping to launch a huge but unlaunchable Hollywood career. This girl doesn't have a shot in Hell. In order to make it looking like that (and acting like a rank amateur), she'd need to be no less than the love-child of Stevie Spielberg and Oprah Winfrey. That's the only kind of nepotism that would guarantee her a film career. In fact, the result of such an unholy union would guarantee ANYONE a film career, no matter how bad they are or what they look like.Seb, if you're going to make the fatal error of casting your robotic, wooden-faced, non-expressive, apathetic daughter/niece/whatever in a major film, you might at least make an effort in helping her understand that when she plays the young daughter/niece of a badly-wounded film character that she ought to show at least a smidgen of emotion related to having a close family member lying hurt in a hospital. Capito? Isabelle reacts without emotion to having her mother/aunt lying in hospital all banged up, and yet only minutes later the director expects us to get emotionally involved in a scene in which Britton prepares to announce to Isabelle that she is her mother. If Isabelle didn't care about her "former" mother's car-crash then how the Hell will she care about who her real mother is! Duh.Speaking of nepotism, Josh Brolin. Josh Brolin doing an English accent. Need I even mention how horrible he's done it? I just did. Josh Brolin getting knocked off only 5 minutes after his first appearance: now, that was a nice touch. I was afraid I might have to watch him for an extensive period, as a major character in this rather enjoyable (semi-)comedy – which would then have become significantly less enjoyable had his presence extended beyond those mercifully short minutes (made a little sweeter through that blond actress).Although all four above-mentioned beauties are very good in WIT, I would stick out Adrienne Palicki, with her funny portrayal of a semi-retarded porno actress. Plus, in spite of being much taller than the other three, she managed to come off as the cutest one. Very tall yet cute? Not a mean feat by any means. Producers should be hyping Palicki, showering her with movie offers right now, instead of focusing all their undivided attention on the promotion of various mediocre nepotistic offspring such as Olivia Wilde or Zooey Dechanel. But that's how cinema and TV work; you scratch my kid's back, I scratch your kid's back. All in the family, and right into the sewer goes the quality.It's unfortunate that Gutierrez chose to let the comedy take a backseat to schmaltzy, totally needless drama. Seb, if you stick 4-5 beauties into a movie then that means you're catering to a MALE audience, not a female one. Sticking women no-one wants to see, such as Streep, Close or Dern - THAT would be targeting a female audience, and then you could make it all drama as far as I'm concerned (coz I wouldn't' watch it anyway, obviously). Your male viewers don't want soppy drama, they want something a little more entertaining and intelligent than that. (Yes, even f**t jokes are more intellectually stimulating than a woman crying in front of the camera.)The last third of WIT sees the movie coming to a standstill almost, with a lot of tiresome sobbing and needless hugging. This, and Isabelle Gutierrez, are the reasons I rated WIT lower than I otherwise would have. .

An odd but strangely compelling indie comedy, "Women in Trouble" does just what the title suggests; it puts an assortment of lovely ladies into humorously dire predicaments. Two women, Connie Britton ("Friday Night Lights") and the newly pregnant porn star Elektra (Carla Gogina), are stuck together in a stalled elevator; Adrianne Palicki (also of "Friday Night Lights") and Emmanuelle Chrichi are sex workers who witness a crime and have to run to safety; Sarah Clarke ("24") is a therapist whose husband ("The Mentalist"'s Simon Baker) is having an affair with one of her patients; and Marley Shelton is an engaged stewardess who's unfortunate enough to have the rock star (Josh Brolin) who's performing sex on her in the airplane bathroom die when the plane hits turbulence. The story lines, which seem disparate at first glance, do manage to dovetail into one another by movie's end.As written and directed by Sebastian Gutierrez, the situations are played for both humor and sentiment, as we get to see just some of the absurd things women are forced to go through on a daily basis. And in each case, it seems, the women who are "in trouble" are aided by other women who are in trouble, essentially leading to a special bond of womanhood that helps get them through tough times. The dialogue is generally sharp and witty without ever becoming denigrating or smart-alecky, and the situations the women find themselves in are just absurd enough to keep them from becoming soap-operatic but realistic enough to make us care.As with most movies that engage in multiple plot lines, some of the stories and some of the scenes are better than others, and, honestly, the film might have benefited from a little less cleverness and a little more focus overall. Still, it has its moments.

Women in Trouble is not an exploitation film, or even a parody of one. It's a remarkably clever, literate, surreal comedy-drama that just happens to be set in a daffy world inspired by the culture of trashy porn. Like Pulp Fiction, it twines together a number of overheated and seemingly disconnected narratives. But the comparison is totally unfair - to Tarantino, who, for all his cleverness, will never make a movie as emotionally involving as this one. Or as funny.It would be almost impossible to summarize this film, or convey its weird charm in a few words. So I won't try. I will warn that a lot of the story hinges on sex - without being *about* sex. Like the best European farces, it takes sex for granted, and never blushes. But it takes that attitude to the next level. Even if you feel you're sexually liberated, you'll need to check your own lingering hangups at the door, in order to keep up with this extremely engaging group of ladies.This is hands-down one of my favorite films of the past year or two, and that's regardless of budget. See it with an open mind. And be prepared to laugh, cry and be amazed.