The Time to Hesitate is Through

Rating: 10/10 (6 February 2006)

Trying to contribute something useful to prospective viewers means trying to explain the extremely polarized nature of the comments about "Empire Records". An uninitiated reader would think that the love-it and hate-it groups were talking about two different films. Which is actually a relatively accurate take on the situation. Allan Moyle's films may differ in subject and structure, but they all have the same indefinable quality that literally connects them to a segment of viewers. This is not the same thing as "getting it" which you would use explain the positive/negative reactions to "Dr. Strangelove", "Nashville", or "Clockwork Orange".
The connection process is more subtle, and it doesn't seem to matter whether you are watching "Times Square", "Pump Up the Volume", "New Waterford Girl", or "Empire Records". An earlier comment came close to capturing this quality: ".....watched it (again) the other night with my boyfriend, and we both still laughed during the funny parts and cuddled during the sweet parts and, well, danced during the dance parts.....". The point being that if you have ever connected with a Moyle film you will most likely connect with "Empire Records" and will see an entirely different film that those not so lucky.
What about those with no prior exposure to Moyle? Think of "Empire Records" as the "American Graffiti" of the 90's, a similar "one-day" structure and a cast of relatively unknown young actors destined to make it big. Structurally it's a microcosm movie like "The Big Chill", as almost all the action takes place in the same location and the day being portrayed is not a routine one but an extraordinary one (it's Rex Manning day). Not all fans of "Ghost World" and "Can't Hardly Wait" will enjoy "Empire Records" but it is probably safe to say that if you hated those two films you should avoid "Empire Records".
It has a happy ending with characters you like and identify with, and the small world of the record store functions as family and universe for these characters. There are lots of little things that you only pick up on after repeated viewings. I'm convinced that the over-the-top stuff works (i.e doesn't come across as totally lame) because Moyle and his editor have carefully set things up on a subconscious level. For example when Corey is agonizing about opening her Harvard admissions letter, they cut between her and attentive shots of both AJ and Gina, who are standing near her to be supportive despite having mixed feelings about her going away. They are the two people who care the most about her. Which furnishes the viewer with the information to understand the nature of her meltdown later in the film, she comes unglued not about Rex Manning but with the sudden realization that her preoccupation with herself has alienated the two people she cares about the most.
My favorite sequence is when Joe tracks down Deb (Robin Tunney) who has retreated from everyone and is sitting on the floor of one of the listening booths doing the store's tax return, symbolic of the protective niche she has found working in the store for Joe. In an extremely touching scene Joe finally just tells her that she is doing a good job. Tunney nicely underplays her character's gentle sarcasm during their exchange, but there is a huge dimensionality in her responses that perfectly communicates her connection to Joe and the store. So that in about 30 seconds Moyle has set up a believable explanation for the sacrifice Deb will later make to help save them.
My second favorite sequence is a montage of activity inside the store early in the film. While the soundtrack plays Dire Straits' "Romeo and Juliet", the editor cuts between characters, coming back to "Juliet" Mills' daughter each time the Juliet lyric is sung.
Plus there is a nice bit of irony as the film opens with a customer asking a question which sets all the events in motion: "Do you think the story is already written or do you think a bold courageous act can change the course of history?". The irony being that the bold act changes the course of history in a totally unintended manner.
The ending is a mix of the "Times Square's" ending and something out of a Judy Garland- Mickey Rooney movie where they get the gang together and put on a show.
"Empire Records" has no obvious technical problems and Moyle gets very even performances out of his relatively inexperienced cast. The soundtrack is the most diverse and extensive you are likely to encounter.
Then again, what do I know? I'm only a child.