Plot so thin, it passes unnoticed.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

While it doesn't offer any answers, it both thrills and makes you think.

I was not conscious of "Splendor" being a Gregg Araki film when I started watching it but after the first two sequences I was thinking: "this is great directing-who did this"? While the technique screams "Araki", as does the casting of Kathleen Robertson, the narrative is so conventional that you find the combination hard to reconcile. I loved an earlier comment that "Splendor" is like a John Hughes remake of "The Doom Generation"; i.e. very conventional and without the sex and violence, with a three-way relationship (two males-one female), Johnathon Schaech, and Director Araki's absolutely amazing production and post-production skills-along with his less than dazzling scripting.Although Araki is paying homage to the great screwball comedies of the 1930's: "Topper", "It Happened One Night", "The Awful Truth", and "Bringing Up Baby"; the style and substance of "Splendor" is closer to Mike Nichols' "The Graduate" (not to mention an amusing parody of the "Graduate's" climatic wedding scene).Kathleen Robertson has the Rose McGowen part in this version of "The Doom Generation" and is generally well suited to the role. I have not decided yet if Robertson is in McGowen's class as an actress, or in the class of her fellow Canadians Mia Kirshner and Sarah Polley. Robertson was excellent in "Maniac Mansion" and "Beverly Hills 90210", but these were similar roles that appear to mirror her own cool and detached personality. One thing that is clear is that she was a great choice for Ariki's trademark close-ups. Anyone perceptive enough to close the camera to face distance when shooting McGowen, Robertson, and most recently Michelle Trachtenberg has a eye for breathtakingly beautiful visuals.The premise does not really have enough substance to sustain a feature although it might work as a half-hour television sit-com (see "Three's Company"). When the premise becomes tired the story brings in a new character, Eric Mabious; and the film self-destructs, killing time until a decent ending sequence. A tip-off that a screen writer has limited life experience to draw from is having cast and crew occupations for the characters. Robertson's character is an aspiring actress and Mabious is directing her in a made-for-television drama. His character is so hopelessly one-dimensional and painfully pathetic that I was convinced that he had a sinister side (what was with those blue contact lenses) that would eventually manifest itself. But this does not happen, maybe Araki had something interesting in mind and abandoned it in re-write. Mabious becomes a non-factor (see totally irrelevancy) and his scenes were simply inserted as padding to get this thing up to feature length.The bottom line is that Araki fans will be a little disappointed with "Splendor". It is very conventional, it isn't much of a story, and the good banter is limited (although Kelly MacDonald has fantastic dialogue in all her scenes) . But if your Araki appreciation is more for his directorial talents (casting, mise en scene details, camera movement and placement) and his post-production originality, you will find "Splendor" measures up very well to his prior work. The morning after scene early in the film simply blows away anything similar from any director.

After dreading Kathleen Robertson as the self-righteous dilettante, Claire, on Beverly Hills 90210 I never would have believed that I could enjoy her so thoroughly in anything else. But, she not only changed my mind about her, she carried this movie so well that it has become one of my "guilty pleasure" favorites. She is beautiful and silly and fun, which is exactly what she needed to be to make this movie a fun romp instead of a ridiculous bore. Matt Keeslar, Johnathan Schaech and the ever-charming Eric Mabius were excellent playing off of Robertson's Veronica. And lest we forget the sincerely lovable Mike (Kelly MacDonald, who is also sweet and charming as Pia in Entropy), who plays one of the truest best friends I have ever seen captured on film. All in all, I think that Splendor is a great movie to watch if you are up for some lighthearted, mildly kinky, romance. Of course this film could be analyzed out the wazoo, but just sit and watch it for fun the first time, it will get you.

SPOILER: Boy meets Girl meets Boy, Girl gets scared, Boys lose Girl, lots of soul-searching, Boys win Girl back, everyone lives happily ever after.And that's what is so unusual about this film. It really is a film about love; it just happens that there's two love stories going on at the same time. The film confronts the question of what happens if you really do love two people at the same time, and how society reacts. All this insight, and a fast-moving mature comedy to boot.Every other Threesome movie ends in a judgemental collapse of the triangle. Its conclusion leaves "Splendor" in a genre of its own.

Well, I saw this movie for the first time last night. I was flipping channels and I noticed the the girl from 90210. It's funny I didn't like her on 90210, her prescence was kind of annoying. But, I thought the movie was good. Many people would think the plot was rather, hmmm... how should we say in flagrante delect, but I actually liked it. It sparked possible fantasies in my head. But, of course we all know in this day and age threesomes aren't a good idea. Overall I really enjoyed the movie. In the end I think she made the right decision