The average viewer will no doubt be baffled and often confused by such a film as this. It functions like a David Lynch movie but has the tone of a quirky indie comedy as directed and written by a hybrid of a former Scientologist, a surrealist pioneer, an avant garde filmmaker, and Tim and Eric. It's...really, really, really weird and breaks every possible cinematic convention in a thrilling way. Few films are as fresh and as funny as this feat of satirical cinema that seems to take place in multiple dimensions. This is the type of film in which the accompaniment of a chart would be of great use for anyone attempting to figure out the events that had just occurred before their now- squinting or boggling eyes. Scenes are repeated with different styles/dialogue, the main character has a doppelganger, characters occasionally speak in tongues that are seemingly just gibberish, some moments include actors acting extremely alien, while in others their mannerisms are uncomfortably realistic, etc. The film works mainly as a comedic and upbeat version of "Mulholland Dr."

From the prologue I instantly thought I understood the tone that Steven Soderbergh- writer, director, cinematographer, possible pornographer, and double-actor on Schizopolis- was going for: pure absurdism, not just with how the prologue is worded (as the most important film experience of all time, the "full completed version"), but how he goes between all the different lenses like a young film student checking out the gears on a Bolex. But it's always a tricky thing going into a Soderbergh "experiment", and that it could be a mish-mash like Full Frontal (I've yet to see Bubble). And, in all truth, it is a mish-mash. It tells a coherent story only in that there's maybe two (or three) stories that seem to make any sense, but is scattered around scenes and freewheeling camera moves and editing tricks and music that come closest to that oft-mentioned critic term "off-beat". And a lot of the time it seems to be so personal to Soderbergh (real life ex-wife playing ex-wife, plus what may be his real kid playing Brantley's daughter), and so unconscionably irreverent, that it dares to run off the tracks any minute.But it's this fully realized move to just be silly and strange, to make just random moments of wild satire (Rhode Island sold as a shopping mall, "Well, at least we didn't sell it to the f***ing Japanese", and a man randomly getting caught up in a straight jacket by fellows from a mental hospital), more well-rounded jabs at the drudgery and pointless meandering of everyday white-collar work life (is there a spy, or a mole, who cares if there's masturbation?), and statements just abstracted as if done sort of by a spontaneous idea in the editing room (title cards quoting a page in the script?), that makes it such a daring work of ludicrous intentions. This isn't a filmmaker trying to make an innovative and possibly important film like Traffic, or even a fun mainstream romp like Ocean's Eleven. In fact, it's seeing the opening prologue, and seeing how the style takes off right away (the title for the film on the shirt of a naked guy running away!) it sets off wonderful irony at every turn.Not that Soderbergh isn't being self-indulgent. In fact, I'm sure that's why there's something of an honesty to his going head-long into his own personal crises of dealing with a relationship or marriage, and throwing caution to the wind by making the emotional problems actually quite real while obfuscating them with some truly goofy vignettes. It's almost like directorial therapy: let the actors improvise, let it all be loose, and even have a truly warped storyline involving an exterminator, really an actor looking for motivation and a written scene (ha), yet having in many instances moments of confession. Even if one might not know some of the circumstances surrounding Soderbergh's first marriage (it's detailed in the book Rebels on the Backlot), it feels like it's coming from the heart a good lot of the time, which uplifts the comedy. A running gag late in the film, as certain scenes from earlier with the perfectly dead-pan Soderbergh and Brantley are repeated, has Soderbergh being dubbed over in Japanese, French, and Italian, though in scenes that involve break-ups, awkward sexual tension, and a reconciliation.This is not to say that Soderbergh isn't also more devilish than he's ever since been with his innuendo- make that outright hilariously immature sexual comedy- and it's amazing to see Soderbergh read a 'love letter' he's written to his "Attractive Woman #2", describing his profession of emotions in very graphic ways. And if Soderbergh does some strange things to surprise as the only time he's starred, let alone acted, in one of his films (the scene where he's in the bathroom making faces at the mirror is one of those pure moments in absurd cinema that speaks to the success of paying homage to Richard Lester movies), his going for broke stylistically pays off too. Or doesn't, depending on how one can take the mix and match of film stocks used from grainy 16mm to the usual 35mm, jagged hand-held racing after the exterminator man beating up on a man and woman, extreme fast-motion film-speed, perfectly composed images like a boy in right field missing a baseball, and even documentary style in the scenes with T. Azimuth Schwitters. On top of the dialog being continuously crazy and self-conscious (what's that film crew following along?), it's possibly the best, or at least most fun, that Soderbergh has to offer as an independent filmmaker.So see it at your own risk, definitely check out the trailer beforehand to get an idea of what's at hand (if the poster wasn't sign enough what a tailspin one can expect to get into), and if one is already a fan, if only in the guilty pleasure sort of way as I know I am, do check out the Criteron DVD for Soderbergh "interviewing" Soderbergh commentary, including the story how the deal for David Lean to direct two years after his death fell through (damn Showtime channel)!

The first time I saw this film I was entertained and mildly confused by what I had just witnessed, it primarily represents a satiric look at modern life Pre Office Space, but saying just that does not do the picture justice. The combination of surrealism, satire and general creativity make this film worth while and most importantly worthy of multiple viewings. At times it feels as though it is being weird for the sake of weird but remains to peak curiosity. Some very funny situations and lines. Not for everyone, but for those looking for something different and willing to keep an open mind this is an excellent, original film. If you want loud bangs and shiny things, watch Soderberghs other films like Ocean 11, 12, 13, 14, 15, 16 etc.

IMDb mark: 4I sincerely wonder why Steven Soderbergh made this film. Could anyone really identify oneself with the deranged main character(s) from this film? Moreover, to snub people who aren't likely to enjoy this film, a guy says in the beginning something like "if you do not understand this film, it is your fault, not ours; you will have to see the film again". However, it's not the understanding I had problems with, although it is tough to figure everything out; the problem is I was yawning after 45 minutes, even though I had waken up just 5 hours before.-Humour: Well, you can spot a few comedy moments, but they are only funny in a weird, sad, twisted sort of way. Additional generic remark about the humour in said film. (!-you'll understand this sentence after you see the film-!) 6/25-Physical Comedy: It's not much better here, either. Many absurd situations arise and the consequences are absurd, too. And is that crazy guy who runs from the men in white supposed to be funny? 7/20-Plot: The plot is very twisted, too. Dr. Jeffrey Korchek, Fletcher Munson and his wife are all involved in an amorous triangle, and the other characters in the film influence their decisions and relationships. The film is divided into three parts, one for each of the three main characters. 11/15-Ending: The ending is not bad for this movie. I liked it. Of course, taste varies. 7/10-Theme: I couldn't come up with a theme for this movie, other than the well-known expression "It's a mad, mad world...". There are, probably, many possible interpretations for this artsy film. 2/10-Nudity: There is no nudity in this film. 0/8-Cast: Steven Soderbergh is the only well-known person who acts in 'Schizopolis'. 1/8-Genre: This tries to be a comedy. 3/4-->Overall: 37/100This is sort of interesting to watch once, I guess, perhaps just because it is so odd. But I seriously doubt whether one would like to watch it again. From Swordlord, 1 sword down!