Gregg Araki, known for films like “The Doom Generation” and “Nowhere,” has created something resembling a mainstream romantic comedy. Veronica (Kathleen Robertson) is an actress struggling to make ends meet in Los Angeles, sharing her life with her quirky artist friend Mike (Kelly Macdonald). During one Halloween night at a club, she meets Abel (Johnathon Schaech), a sensitive writer, and they form a connection. Later, she notices Zed (Matt Keeslar), the band’s drummer, and their chemistry is immediate, even on the dance floor of the restroom. Veronica begins dating both men. Abel and Zed discover each other's existence and agree to share her, until Zed is forced to move out after being evicted from his apartment. Abel decides to join him, but it quickly becomes clear that the two are immature, especially when it comes to relationships. By coincidence, Veronica lands a part in a television movie directed by the sincere Ernest (Eric Mabius). She finds herself pregnant, moves out of the shared apartment, and ends her relationship with both Abel and Zed. Then Ernest proposes marriage... While described as an homage to the screwball comedies of Hollywood’s Golden Age, I don't recall Fred Astaire ever wooing Ginger Rogers to music by Fatboy Slim or New Order. Araki takes the basic structure of those classic films and makes it entirely his own. The film includes contemporary elements like explicit sex scenes and drug use, which are handled better than in some of his other work. My biggest issue is with Araki’s directing style. It feels excessive; he seems to constantly be pushing in close on the actors. I felt a bit nauseous and uncomfortable being so intimately positioned with the characters. Plus, having a thirty-two inch television makes Kathleen Robertson's head look enormous. The cast is genuinely likable, there aren’t any outright villains. You really want things to work out for everyone, even Ernest, who seems like the nicest possible choice for a rebound relationship. Robertson delivers a solid performance, although it becomes apparent that Veronica is quite unreliable. Keeslar is amusing as Zed, without resorting to exaggerated buffoonery. Schaech also does well with Abel, avoiding stereotypical brooding artist behavior. Macdonald provides a pleasant portrayal of Mike, and doesn’t fall into the trap of playing an over-the-top best friend. Everyone performs their roles effectively, remaining understated, which leaves Araki to compensate, ensuring this isn't something you would show your grandmother when she wants to reminisce about William Powell or Myrna Loy. "Splendor" has some funny moments, but also feels slow at times. The humor is inconsistent, and Araki’s direction remains a constant distraction throughout the film. While I didn’t dislike it, I found it to be fairly ordinary. It's always interesting to see what Araki will do next; his films can be captivating, though until “Mysterious Skin” came along and had a profound impact on me, I hadn’t encountered one that truly impressed me.

Source on TMDB