Big Fan

The last twenty minutes are kind of genius. It takes the film away from exploring the hypocrisy of intensely loving something that not only doesn't love you back but actively hurts your mind and body (far better executed in the previous film Siegel wrote, Aronofsky's "The Wrestler") and gets into a dangerous place, where Patton Oswalt isn't trying to survive a hate machine but is at the helm of it. What follows is thrilling, hysterical, sad, and satisfying in equal measures, ending the film in unpredictable but earned fashion. If only the film leading up to this section measured up.

6