Without You I'm Nothing


Comedy / Musical

Rotten Tomatoes Critics - Certified Fresh 67%
Rotten Tomatoes Audience - Upright 70%
IMDb Rating 6.3 10 589

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Uploaded By: FREEMAN
March 30, 2022 at 07:16 PM



Djimon Hounsou as Ex-Boyfriend
Ken Foree as Emcee
John Doe as Self
822.7 MB
English 2.0
23.976 fps
1 hr 29 min
P/S counting...

Movie Reviews

Reviewed by boblipton 5 / 10

Too Long

Here's a movie version of Sandra Berhard's off-Broadway show.

Miss Bernhard is a talented and creative performer who has learned George Burns' advice: "Sincerity: if you can fake that, you've got it made". Miss Bernhard's show is a 90-minute testimony to show-biz insincerity, with its lightning mood changes, its self-absorption, and its striving to remain relevant by constantly associating with better-known individuals. Once you've cracked that particular attitude, this quickly becomes tiresome, despite the variety of songs and costumes,the brilliant studio cinematography by Joseph Yacoe (supervised, I strongly suspect, by executive producer Nicholas Roeg). All this is done in indictment, but even so, I grew weary soon enough. An hour would have been more than enough.

It's the movie debut of Djimon Hounsou.

Reviewed by moonspinner55 3 / 10

She's not everybody's cup of jive...

Film version of Sandra Bernhard's one-woman off-Broadway show is gaspingly pretentious. Sandra spoofs lounge acts and superstars, but her sense of irony is only fitfully interesting, and fitfully funny. Her fans will say she's scathingly honest, and that may be true. But she's also shrill, with an unapologetic, in-your-face bravado that isn't well-suited to a film in this genre. She doesn't want to make nice--and she's certainly not out to make friends--and that's always going to rub a lot of people the wrong way. But even if you meet her halfway, her material here is seriously lacking. Filmmaker Nicolas Roeg served as executive producer and, though not directed by him, the film does have his chilly, detached signature style all over it. Bernhard co-wrote the show with director John Boskovich; their oddest touch was in having all of Sandra's in-house audiences looking completely bored--a feeling many real viewers will most likely share. *1/2 from ****

Reviewed by gbill-74877 3 / 10

Not funny

Just a miserable viewing experience, as much as I liked the non-conformity of Sandra Bernhard's act, and how interesting she was as a frequent guest of David Letterman's long ago. There are bits in it that serve as a critique of "normal" American life which probably would have been the most interesting had they been the focus, but more often it's Bernhard performing musical numbers. There is a satire of the banality and egotism of entertainers in those, but I found it muted, and on top of it, it's hard to tell where Bernhard herself ends and the act begins.

The concept, you see, is that Bernhard got "too grand" in her success and needed to get back to her "roots," as her (fake) manager puts it, hence, the show in front of an (also fake) mostly-black audience (btw huh?) who are shown as disdainful and bored. The whole idea is that she does this act and fails, suffering the humiliation of having her name mistaken by the emcee and smatterings of applause, despite all her boasting over the smash success of her Broadway show. The trouble is, while she's not entertaining the fake audience, she's not entertaining the viewer either (ok, at least this viewer). She goes so far out there that it's just not funny, or interesting.

I have to say, the way she integrates African-American culture into the show is also troublesome. In an interview at the time, she said she made this choice because "it was an interesting metaphor of being on the outside, and showed how much blacks have influenced white culture." I'm just not sure that reasoning resonates. In one of her musical performances, she riffs on Nina Simone which had the potential to be entertaining I guess, but to choose the song "Four Women" with its deeply meaningful lyrics (e.g. "I'm awfully bitter these days because my parents were slaves") and at least partially mock it was problematic on top of being unfunny. There are several other such examples, Diana Ross, etc, leading to the performance of Prince's "Little Red Corvette" in pasties and a G-string at the end. It takes a long time to get there too. There's way too much filler here, which halts any possibility for momentum and pads the film unnecessarily. This is a conceptual piece that just didn't land, and would have been better, I think, had it just been reined in to a stand-up act.

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