My review was written in February 1993 after a screening at MoMA in Manhattan.
Of interest mainly to tradesters, "Joey Breaker" is an inside look at a New York movie talent agent. Lack of visual pizzazz plus miscasting severely limit the indie p;ic's breakout potential.
Former William Morris agent Steven Starr makes fome good points in his knowing script, but as a debuting director he ends up with more of a radio play than a motion picture. The film simply doesn't move.
Richard Edson portrays Joey Breaker, a high-powered Gotham agent juggling young clients ande hoping to advance at Morgan Creative. He's eager to sign black comedian Hip Hop Hank (Erik King) and is wr=orking with colleague Jennie Chaser (Gina Gershon) on arranging a studio auction for the spec script of novice screenwriter Larry Metz (Michael Imperioli).
Breaker is styled as a user, the viewer quickly tagging him as a selfish guy. Homophobia and sexism get him into trou ble but alos serve as key plot devices. He begins to see the light when after initial resistance, he starts a friendship with Alfred Moore (Fred Fondren), a man dying of AIDS. His callous remark to Hank about Hank's male lover Lester (Laurence Mason) almost costs him this client's trust, causing more consciousness-raising.
Matters really come to a head when Breaker's offhand sexist remark about Chaser causes her to quit the agency. This occurs during the bidding war for Metz's script (termed "a cross between 'Twins' and 'The Flintstones'" by Chaser). Poor Breaker has to face his boss after Chaser sells it for $1,000,000 for a rival agency.
Starr schematically builds a 1960s-type choice for this poor man's Sammy Glick. A romance with Jamaican waitress Cyan (Cedella Marley, daughter of Bob) ends when she moves back to Jamaica to be a nurse. Breaker predictably chucks his career and exits the rat race to join her.
Edson is problematic in the central role of Joey Breaker, as he underplays the fast-talking smoothie; the part's required high energy level is sorely lacking. Marley is quite appealing as Edson's romantic interest, but they generate no heat.
As Edson's gung-ho assistant, Philip Seymour Hoffman consistently upstages the star, building on the strong impression he made as the weak-willed preppy in "Scent of a Woman".
The late Fred Fondren has a touching scene detailing his unfulfilled dream to be a writer. Best line goes to Edson's boss, Sam Coppola, who states the agent's credo: "Just remember, stars come and go, but we are forever.
Of interest mainly to tradesters, "Joey Breaker" is an inside look at a New York movie talent agent. Lack of visual pizzazz plus miscasting severely limit the indie p;ic's breakout potential.
Former William Morris agent Steven Starr makes fome good points in his knowing script, but as a debuting director he ends up with more of a radio play than a motion picture. The film simply doesn't move.
Richard Edson portrays Joey Breaker, a high-powered Gotham agent juggling young clients ande hoping to advance at Morgan Creative. He's eager to sign black comedian Hip Hop Hank (Erik King) and is wr=orking with colleague Jennie Chaser (Gina Gershon) on arranging a studio auction for the spec script of novice screenwriter Larry Metz (Michael Imperioli).
Breaker is styled as a user, the viewer quickly tagging him as a selfish guy. Homophobia and sexism get him into trou ble but alos serve as key plot devices. He begins to see the light when after initial resistance, he starts a friendship with Alfred Moore (Fred Fondren), a man dying of AIDS. His callous remark to Hank about Hank's male lover Lester (Laurence Mason) almost costs him this client's trust, causing more consciousness-raising.
Matters really come to a head when Breaker's offhand sexist remark about Chaser causes her to quit the agency. This occurs during the bidding war for Metz's script (termed "a cross between 'Twins' and 'The Flintstones'" by Chaser). Poor Breaker has to face his boss after Chaser sells it for $1,000,000 for a rival agency.
Starr schematically builds a 1960s-type choice for this poor man's Sammy Glick. A romance with Jamaican waitress Cyan (Cedella Marley, daughter of Bob) ends when she moves back to Jamaica to be a nurse. Breaker predictably chucks his career and exits the rat race to join her.
Edson is problematic in the central role of Joey Breaker, as he underplays the fast-talking smoothie; the part's required high energy level is sorely lacking. Marley is quite appealing as Edson's romantic interest, but they generate no heat.
As Edson's gung-ho assistant, Philip Seymour Hoffman consistently upstages the star, building on the strong impression he made as the weak-willed preppy in "Scent of a Woman".
The late Fred Fondren has a touching scene detailing his unfulfilled dream to be a writer. Best line goes to Edson's boss, Sam Coppola, who states the agent's credo: "Just remember, stars come and go, but we are forever.