Chris Zeischegg | Through the Shattered Lens

It took me a while to appreciate The Canyons.

In fact, it took me so long to appreciate this film that I’m writing a second review it. I initially reviewed The Canyons way back in 2013, the same year that it was released. I praised Lindsay Lohan’s performance as Tara, an actress who is living with a sociopathic producer named Christian (adult film actor James Deen, who was a bit of a celebrity when this film came out but whose star has dimmed considerably since). I complained that the film was too slow and that director Paul Schrader seemed to be trying too hard to find some sort of existential meaning within Bret Easton Ellis’s pulpy script. Though I didn’t really mention it in my initial review, I also felt that rest of the cast was rather dull. Lohan was great, playing a character to whom she could probably relate. Deen was stiff but oozed enough charm to be believable as the manipulative Christian. The rest of the largely unknown cast came across as being dull and somewhat lost.

Though I was nowhere near as critical of The Canyons as some critics, I still was not initially impressed. I thought of it as being a showcase for Lohan’s attempted comeback and little else. But I have to admit that The Canyons has stuck with me. It’s a film that I’ve rewatched more than a few times. While all of the flaws are still there, I have come to better appreciate the film’s languid decadence. I’ve come to see that there was a bit more wit to both Ellis’s script and Schrader’s direction than I initially realized. James Deen’s performance as Christian has grown on me. I like that he’s a neurotic sociopath. He’s evil but he’s needy and, though he’ll never admit it, he knows that he’ll be nothing if Tara ever leaves him. He’s desperate to be loved but he has no idea how to give that love back.

When I first saw the movie, I thought Nolan Funk, who played Tara’s ex-lover, was a bit dull in the role. Upon subsequent rewatches, I’ve come to see that his dullness is actually very important to the film. Ryan is written to be boring. That’s why Tara is drawn to him. His dullness provides some relief from Christian’s mood swings. But, because Ryan is so boring, he can also never truly take Christian’s place. In the end, Ryan still sells out his integrity, first to get a part and then to obsessively check in on Tara. Ryan and Christian are ultimately revealed to be two sides of the same coin. Ryan may be “the good guy,” but — in a typical Ellis and Schrader twist — there’s nothing likable or even that good about him. One gets the feeling that, if had Christian’s money, he would be just as bad.

You really do find yourself feeling sorry for Tara, who is basically trapped between two men who both want to control her. Lohan’s performance continues to be the strongest things about The Canyons. There’s a lot of courage to Lohan’s performance, courage that goes beyond taking part in the film’s sex scenes. Lohan reveals the vulnerability that’s at the heart of Tara. She’s someone who knows that she needs to escape but she also knows that she’s a creation of Hollywood. Hollywood is her home and her world and it’s hard to imagine her surviving anywhere else. Tara is interesting not because she’s trapped but because, in many ways, she would prefer to be trapped to being free.

The film’s flaws are still there, don’t get me wrong. The Canyons still has a lot of moments that don’t quite work. The opening scene, where Christian, Ryan, Tara, and Gina (Amanda Brooks, whose performance also improves on repeat viewing) have an awkward dinner, is almost laughably bad. (In that opening scene, James Deen delivers his dialogue like Dirk Diggler in Angels Live In my Town.) That said, this is a trashy and colorful movie that does stick with you. You might not want it to stick with you but it does! It’s portrayal of sexual decadence and neurotic Hollywood players is far more entertaining than it has any right to be. It may not be a great film but it is one that’s a bit more interesting than many originally thought.

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