Dylan Kidd scores with Roger Dodger

With such recent films as Abandon and The Tuxedo, Roger Dodger, with its sharp, witty dialogue, cool ambient soundtrack, and delightfully unorthodox camera work provides a welcome departure from the derivative films plastered on T.V. ads and billboards. Director Dylan Kidd makes a strong first run with this artsy, entertaining trip through promiscuous, yuppie New York City, named the Best Narrative Feature in competition at the 2002 Tribeca Film Festival.

The film begins with Roger (Campbell Scott) commanding a luncheon conversation with his coworkers, spewing provocative theories on gender roles and establishing his formidable, razor-sharp wit. "Words are my stock and trade." The movie then proceeds with its somewhat predictable plot. First, Roger is dumped by his boss Joyce (Isabella Rossellini), which exposes his sexual insecurities. He tries his hand at a few bar pick-ups, but his attempts, while intelligent and inspired, are rebuffed for being offensive, blunt, and self assured. Roger's trajectory is altered when Nick (Jesse Eisenberg, brother of the "Pepsi girl") arrives at his office unannounced, apparently looking at colleges, but really wanting some tips from the artful "Dodger" himself on women.

The two start small, but eventually move to more provocative and outrageous settings for their current mission: to remove Nick's virginity. Nick vies with both himself and Roger, dealing with the lust Roger fuels and attempts to fulfill, and also his sensitive virtue which thwarts his desires and uncle. Roger himself is at times intellectual, aggressive, misogynistic, and downright disgusting, but, as usual, deep down inside he's not quite a jerk. It's cool to watch Roger compete for female attention with Nick, only to lose to his sweet, unorthodox nephew and then make the audience wonder if it was all an act for the kid's benefit.

While the ending and slight plot twist is somewhat obvious, the daring of the film succeeds in engaging the audience. It is admirable to find a film allowing the audience to wonder and secretly hope that an exciting turn is just around the bend. Don't expect anything particularly deep of Roger Dodger; it's just great entertainment, nothing more, nothing less.

In addition to its plot and dialogue, Roger Dodger exhibits some much-needed innovation in the stagnant movie scene. While many films have constant action, afraid the audience will be bored if something isn't exploding or having sex, Roger Dodger takes time for silence. The beginning is delightfully personal, as we watch Roger go home, take off his shoes, and get comfortable. There's no dialogue, no urgency, no action. It's just, human. Add to that a particularly cool soundtrack that alternates from busy, electronica vibraphone, to a slow, building, foghorn-like ambience, and surprising, hand-held camera work reminiscent of war films. When the characters become more nervous or awkward, the camera becomes jitterier, increasing the tension.

Unfortunately, Roger Dodger is only playing at the Cineplex Odeon Outer Circle in Tenleytown, and the Landmark Bethesda Rowe Cinema. If you're looking for a good time, look no farther than Roger Dodger.