Film Review: The Shape of Things (2003)

In the pantheon of cinema, a select few auteurs have made a name for themselves as masters of misanthropy. Neil LaBute is undoubtedly one of them, and his 2003 drama, The Shape of Things, serves as a prime example of his unflinching exploration of the darker aspects of human nature.

Based on his 2001 stage play of the same name, it tells the story of Adam Sorenson (played by Paul Rudd), nerdy student at fictitious Mercy college who works part-time as security guard in museum. One day he is forced to intervene when Evelyn Anne Thompson (played by Rachel Weisz), attractive art student, attempts to spray paint a statue in protest. He is immediately attracted to her and two of them start dating. Adam, who never had much success with women, easily accepts all her suggestions about his lifestyle and appearance – gets new haircut, uses contact lenses instead eyeglasses, changes diet, loses weight and begins to wear fashionable clothes. All those changes are noticed by Adam’s best friends – his former roommate Phillip (played by Frederick Weller) and his fiancee Jenny (played by Gretchen Mol). They begin to wonder whether the Adam’s relationship with Evelyn is healthy, but that same relationship begins to affect them in unexpected ways.

The Shape of Things boasts a relatively low budget and, for the most part, doesn't attempt to hide its stage origins. With only four major characters, all played by the same talented actors as in the stage production, the film maintains a quick pace that keeps audiences on the edge of their seats. The cast delivers phenomenal performances, with Rachel Weisz standing out in a career-defining role as a quirky, attractive, yet potentially manipulative woman. Paul Rudd, known for his work in light comedy, shines in a more difficult and serious role. Gretchen Mol, pretty blonde whose looks often limited the scope of her work, together with relatively unknown Frederick Weller, add a touch of humanity to their characters.

LaBute's approach to storytelling is nothing short of imaginative, with a narrative that unfolds like a tightly coiled spring waiting to snap. He adopts the tropes and cliches of romantic comedy, such as the "meet cute," quirky characters, and romantic rivalries, but subverts them to create a drama that becomes increasingly darker as the story unfolds. The result is a shocking plot twist near the end that is one of the few genuine surprises in 21st Century Hollywood. This twist is as devastating for the audience as it is for the characters, leaving viewers questioning the true nature of love and relationships.

The Shape of Things is a well-acted and well-directed film that could be recommended only to those who haven't seen it before. Its impact is likely to be lost on second viewings, and audiences might see it as a clever exercise in style, arthouse pretension, and misanthropy rather than a genuine drama.

RATING: 6/10 (++)

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