This article is about the film. For the book, see Fast Food Nation.
Fast Food Nation is a 2006 American-British comedy-drama film directed by Richard Linklater. The screenplay was written by Linklater and Eric Schlosser, loosely based on the latter's bestselling 2001 non-fiction book Fast Food Nation.
Don Anderson is the Mickey's hamburger chain marketing director who helped develop the "Big One", its most popular menu item. When he learns that independent research has discovered a considerable presence of fecal matter in the meat, he travels to the fictitious town of Cody, Colorado to determine if the local Uni-Globe meatpacking processing plant, Mickey's main meat supplier, is guilty of sloppy production. Don's tour shows him only the pristine work areas and most efficient procedures, assuring him that everything the company produces is immaculate.
Suspicious of the facade he's been shown, Don meets rancher Rudy Martin, who used to supply cattle to the Uni-Globe plant. Rudy and his Chicana housekeeper both assure him that because of the plant's production level, several safety regulations are ignored or worked against; workers have no time to make sure that the manure coming from the intestines stays away from the meat. Don later meets with Harry Rydell, executive VP of Mickey's, who admits being aware of the issue, but is not concerned.
Amber is a young, upbeat employee of Mickey's, studying for college and living with her mother Cindy. While her life seems to be set, she continually faces the contrast between her current career and her own ambition, emphasized by her two lazy co-workers, Brian and Andrew, who, having heard of armed robberies at fast food restaurants in the area, start planning their own.
Amber and Cindy are visited by Cindy's brother Pete, who encourages Amber to leave town and start a real career. Amber eventually meets a group of young activists, Andrew, Alice, and Paco, who plan to liberate cattle from Uni-Globe as their first act of rebellion. They proceed to sneak up to a holding pen at the plant, but after breaking down the fence, they are shocked that the cattle make no attempt to leave. Upon hearing the police, they retreat and contemplate why the cattle decided to stay in confinement.
Raul, his love interest Sylvia, and Sylvia's sister Coco are illegal immigrants from Mexico, trying to make it in Colorado. They all go to Uni-Globe in hopes of finding a job - Raul becomes a cleaner, while Coco works on a meat processing conveyor belt. Sylvia, however, cannot take the environment, and instead finds a job as a hotel maid. Coco develops a drug habit, and begins an affair with her exploitative superior, Mike.
In a work accident, a friend of Raul's falls in a machine, and his leg is mangled. Raul, attempting to save him, falls and is injured. At the hospital, Sylvia is told that Raul was on amphetamines at work. Because Raul is now unable to work, Sylvia has sex with Mike in order to find a job at Uni-Globe. She ends up working on the "kill floor."
The film was shot on location in Austin and Houston, Texas and Colorado Springs, Colorado, as well as in Mexico. The meat packing plant was in Mexico as well.
The film received mixed reviews. Film review aggregator Rotten Tomatoes indicates that the film has an approval rating of 50%, based on 147 reviews, with an average score of 5.7/10.
A. O. Scott of The New York Times said about the film, "while it does not shy away from making arguments and advancing a clear point of view, is far too rich and complicated to be understood as a simple, high-minded polemic. It is didactic, yes, but it's also dialectical. While the climactic images of slaughter and butchery — filmed in an actual abattoir — may seem intended to spoil your appetite, Mr. Linklater and Mr. Schlosser have really undertaken a much deeper and more comprehensive critique of contemporary American life ... The movie does not neglect the mute, helpless suffering of the cows, but it also acknowledges the status anxiety of the managerial class, the aspirations of the working poor (legal and otherwise) and the frustrations of the dreaming young. It's a mirror and a portrait, and a movie as necessary and nourishing as your next meal."
Peter Travers of Rolling Stone awarded the film three out of four stars and added, "It's less an expose of junk-food culture than a human drama, sprinkled with sly, provoking wit, about how that culture defines how we live ... The film is brimming with grand ambitions but trips on many of them as some characters aren't given enough screen time to register and others vanish just when you want to learn more about them."
Ruthe Stein of the San Francisco Chronicle felt "for all the filmmaker's good intentions, Fast Food Nation isn't a particularly good movie. It doesn't hold together or grip you the way a documentary might have. The people are sketchily drawn - just when you start to care about one of them, he or she vanishes. To get the consumer-beware message across, much of the dialogue sounds like preaching, an unnatural way to talk in what's billed as entertainment ... But it does get its message across. You're unlikely to leave the theater with a hankering for a fast food patty of any size."
Todd McCarthy of Variety wrote, "Richard Linklater's rough-hewn tapestry of assorted lives that feed off of and into the American meat industry is both rangy and mangy; it remains appealing for its subversive motives and revelations even as one wishes its knife would have been sharper ... In the end, viewers waiting for an emotional and/or dramatic payoff will be disappointed. As a call-to-arms, it's highly sympathetic but surprisingly mild-mannered."
The film premiered In Competition at the 2006 Cannes Film Festival on May 19. It went into limited release in Australia on October 26, 2006.
The film opened on 321 screens in the US on November 17, 2006 and earned $410,804 in its opening weekend. It eventually grossed $1,005,539 in the US and $1,203,783 in foreign markets for a total worldwide box office of $2,209,322.
The DVD was released on March 6, 2007 and grossed $6.44 million in rentals in its first seven weeks.
Awards and nominations
Richard Linklater was nominated for the Palme d'Or at the 2006 Cannes Film Festival, and the Imagen Foundation nominated Wilmer Valderrama Best Actor in Film.
The film won Best Feature Film at the 21st Genesis Awards.
- ^"FAST FOOD NATION (15)". British Board of Film Classification. 2006-08-30. Retrieved 2013-05-07.
- ^ ab"Fast Food Nation (2006)". Box Office Mojo. Retrieved September 7, 2009.
- ^"Fast Food Nation (2006)". Rotten Tomatoes. Retrieved September 7, 2009.
- ^Scott, A. O. (November 17, 2006). "Fast Food Nation (2006) Movie Review". The New York Times. Retrieved September 7, 2009.
- ^Travers, Peter (November 13, 2006). "Fast Food Nation: Review". Rolling Stone. Archived from the original on September 7, 2009. Retrieved September 7, 2009.
- ^Stein, Ruthe (November 17, 2006). "A plentiful serving of diet don'ts". San Francisco Chronicle. Archived from the original on September 16, 2011. Retrieved September 7, 2009.
- ^McCarthy, Todd (May 19, 2006). "Fast Food Nation". Variety. Archived from the original on September 7, 2009. Retrieved September 7, 2009.
- ^ ab"Festival de Cannes: Fast Food Nation". festival-cannes.com. Retrieved 2009-12-13.
- ^"Fast Food Nation (2006): DVD/Home Video". Box Office Mojo. Retrieved September 7, 2009.
MOVIE REVIEW: "Fast Food Nation"
By Mollie K. Wright, CRIMSON STAFF WRITER
Directed by Richard Linklater
If “Super-Size Me” is the documentary version of street-corner proselytizing against evil corporate junk food, “Fast Food Nation” is its object-lesson counterpart, tediously preaching to the proverbial choir.
Director Richard Linklater’s much-anticipated feature film “Fast Food Nation” is not a documentary. Rather, it is a fictional account that dramatizes the nonfiction book by the same name, written by Eric Schlosser, the film’s co-author. “Fast Food Nation” imbeds facts about the American fast food industry in specious “real people” vignettes, hoping to make the statistics come alive with a Hollywood budget and a star-studded cast and crew.
Cinematographer Lee Daniel has worked extensively with Linklater on past projects like “Before Sunset” and “Dazed and Confused.” The visual aspects of the film maintain finesse while capturing the script-dictated images of commercialization, mass consumerism, and varying amounts of dead cows.
However, the incessant, heavy-handed dialogue and the poor character development doom this film to be a disgraceful feature rather than a respectable documentary. The attempt at a creative and educational film that would compel America to change its ways results in a badly written guilt trip that lasts just under two hours.
On the whole, each actor in the ensemble cast does his best with the role he is given, however unnatural his lines or his character. Greg Kinnear (“Little Miss Sunshine”) portrays the head of marketing of Mickey’s, an imaginary fast food chain. He is onscreen for the majority of the movie and might have become a character to whom the audience could relate; instead, his character serves only to initiate the fusion of the corporate and industrial worlds.
Wilmer Valderrama (“That 70’s Show”), Catalina Sandino Moreno (“Maria Full of Grace”), and Ana Claudia Talancon (“Alone With Her”) successfully play out the drama of illegal immigrant workers at the meatpacking plant. Their acting can be deemed “successful” probably because they spoke in Spanish with English subtitles; their speeches about drug use and American materialism felt less forced than correlating political rants by their English-speaking cast mates.
Ashley Johnson (“Nearing Grace”) and Paul Dano (“Little Miss Sunshine”) complete the fast food trinity as employees at the local branch of Mickey’s, infusing teen angst with lofty activist undertones or unchecked crudeness, respectively.
While most roles have at least a hollow function in the film, the most over-hyped actors play characters with no redeeming value whatsoever. Ethan Hawke’s (“Before Sunrise”) pithy role lets him communicate several assertions of idealism before peacing out of the film entirely. Avril Lavigne plays a character whose defining moment is her utterance of the line—“How come in real life the bad guys always win?”—after an unsuccessful liberation of cows from the meatpacking plant.
The only time when the movie is enjoyable is when the filmmakers forget about trying to shove their party line down the audiences’ throats and have some fun with their characters. The best moments occur when the action works against the overarching, suffocating message of the film: when the stupid activist kids aren’t powerful enough to convince the cows to leave the system, the audience is reminded that, well, the filmmakers aren’t going to have much success liberating the viewer either.
Bottom Line: Clumsy fusion of fact and fiction in “Fast Food Nation” is far worse for digestion than any over processed hamburger. If you want to be educated, read the book. If you want to be entertained, pick a different movie.
—Reviewer Mollie K. Wright can be reached at firstname.lastname@example.org.
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