A consistently intelligent (or at least bright), coherently constructed comedy that is on occasion a rather pointed critique of the American education system in the…
More movies than ever seem to be ending in death these days, and a lot of the deaths look like cheap ways of ending a film. It's always hard to resolve a plot, and the more convincing and complicated your characters are, the harder it is to bring them toward some kind of statement or summation.
Is it my imagination, or are a lot of filmmakers avoiding this difficulty by simply killing an important character at the end, trusting the fact of death to cast an ironic and significant light on the events that went before (no matter how pointless they seemed at the time?)
Death, of course, is supposed to send us out of the theater shaking our heads at the futility of it all. But it doesn't work that way for me anymore. It's getting easier and easier to spot a movie that will inevitably end in death -- and as the ending telegraphs itself, the movie falls to pieces. We're no longer fascinated by the unfolding of the story because death makes the events leading up to it terribly easy to anticipate.
I had some of these feelings while watching Jerzy Skolimowski's "Deep End," a film that deserves a better ending. It is an observant and sympathetic movie about a 15-year-old boy who goes to work as a public bathhouse attendant in London. He is mixed-up sexually, more out of fear and shyness than anything, and all of his fantasies lock themselves on the girl who also works at the bathhouse.