Adaptation.

I realize that the fear of contracting writer's block from a fictional character is crazy, but in the brilliantly scrambled, self-consuming world of Adaptation it has a certain plausibility.

Screenwriting this smart, inventive, passionate and rip-roaringly funny is a rare species. It's magic.

Adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary.

The final result, shaped by the brilliantly nimble, pitch-perfect direction of Spike Jonze, and blessed by superb acting, is an extraordinarily clever comedy that falters only in the last 20 minutes.

The trouble with experimental comedies is that it's often impossible to figure out how to end them. But at least this one is intricate fun before it blows itself up. [9 December 2002, p. 142]

I'm not turning cartwheels over Adaptation as energetically as my colleagues. Part of me -- and I'm thinking aloud here, I've likely been infected by Kaufman's comic self-consciousness, and also by his meta-comic impulse to draw attention to that self-consciousness, and probably also by his meta-meta-comic impulse to draw attention to drawing attention to his self-consciousness -- that -- that --

Virtually everything that happens in Adaptation is almost juvenile showing off - daring to make a film that is in search of a script.

Adaptation is one of Kaufman's earlier movies, and while it is both self-indulgent and self-effacing, it is also incredibly witty and self-aware. Adaptation doesn't take itself too seriously, and yet at the same time, it is Kaufman's most sincerely endearing movie when it comes to reality. Adaptation is an absurdist comedy, but it is also a broader critique of film as a creative medium and as an art form. Adaptation literally looks at the story of Kaufman's struggle to adapt a critically middling book that lacks a clear subject into a Hollywood film. The movie is a satire of the film industry and the creative vampirism that it incentivizes, ultimately illustrating that the only way to be financially successful in Hollywood is to give up your creative principles and pander to the most general of filmgoing audiences. Adaptation has a basic three-act structure, and while this is the least creative approach you can take to a film, it acknowledges this and asks the viewer to move on to focus on the broader content of the film. Charlie Kaufman's arc throughout the film is one of adaptation - it is through his struggles and countless failures that he can change as a person and adapt to his biggest problem, i.e. socializing with women. The film starts from a point of total self-effacement, reflecting some degree of Kaufman's own self-loathing. Charlie Kaufman sees himself as a gross, despicable person who is socially awkward, unfit, and generally a waste of space. Whether Kaufman as a real person truly believes this doesn't matter because it is embedded in the text of the film nonetheless. Charlie Kaufman's journey is not one of self-discovery but instead is guided by a creative realignment. The film literally states that movies as an art form must adopt some degree of a cliche to be successful, but it also implies that a refusal to adhere to any norms of a craft leaves an artist in a state of creative drought. When a creative endeavor is born from only restrictions and no foundation, it is doomed to fail. Similarly, when Charlie Kaufman is strictly self-destructive in his thought process, he dooms himself to a dangerous state of learned helplessness. Charlie Kaufman must learn to love and accept himself for who he is before he is finally able to have a successful interaction with a woman. The film may start slow, but by its end, it is an incredibly fast-paced ride filled with the very creative vices Kaufman vowed to avoid. While Adaptation is incredibly witty and self-aware, it is also charming and charismatic. Adaptation illustrates that conformity may be a necessary evil; however, it can also be circumvented by the mere awareness of its existence. Like Kaufman within its walls, Adaptation is aware of its flaws, but rather than revel in their depths, it accepts them and allows them to define its very success. Adaptation explores the painstaking process of screenwriting and creative genesis and how it relates to the search for perfection. Kaufman capturing the monumental task through his use of incisive one-liners. While some may perceive the self-referential and deconstructionist nature of the movie to be pretentious, they can just as easily read as more of the witty, analytical features that are present across Kaufman's oeuvre. Kaufman does write himself into the movie, which in some cases can lead to some degree of deifying - but by splitting himself with and invented brother, he can critique his failings while preserving his better, more genuine talents. Donald serves as the ultimate foil for Kaufman, as he is a caricature of all of Charlie Kaufman's biggest complaints with the industry. Donald continually follows through with actions that Charlie Kaufman assures will result in him being worse off, but in the end, is the more successful of the two. Donald is, on one hand, an epitome of all that Charlie Kaufman despises about the industry, but is also in some ways his ideal self, effortlessly holding many traits that Charlie Kaufman strives to attain. Donald is an embodiment of the best and worst of Charlie Kaufman's desires, yet he also holds many characteristics in common with Charlie Kaufman; therefore, neither Donald nor Charlie Kaufman truly represents the entire gambit of what makes up Kaufman as a real person. Kaufman has split himself into two bodies, each holding different traits, while simultaneously acknowledging that doing so is an overused trope and a lazy technique. Adaptation is mature when it needs to be and aware of its boundaries. The film never tries to reach beyond its logical boundaries, without first acknowledging that doing so is all that matters when judging a product. The first two acts may be slow, but their content and their extensive critiques of the film industry show Kaufman is someone who is not afraid to make his stances known. Overall, Adaptation is funny, incisive, and well constructed, providing a broadly accessible experience of high quality and good humor.

Fairly clever and enjoyable, but not as good as it thinks it is. Acting is strong.

Adaptation is a brilliant work for the first hour and a half before it goes off the deep end. The writing is immaculate during this former period and works on multiple levels, it really makes you think, really entertains, and feels authentic and real. However, in the last half hour, it all falls apart with a stupid ending that embraces all that the character rails against throughout. I understand the point, I got it. That is not the problem, I can get it and still think it **** and my God did the ending ****. It not only thought it was smarter than its audience and took self-indulgence to a different level, but it **** the life out of the film and spit in the face of its audience. I love Charlie Kaufman's writing, but the ending was horrendous and a complete turn off that left me sitting there trying to piece together how a film I was falling in love with just turned its back on me and called me an idiot. Luckily, the acting is fantastic from Nicolas Cage, Meryl Streep, and Chris Cooper, which really boost this one up considerably. Ultimately, Adaptation is a sometimes brilliant work that is great when it respects its audience, but falls apart when it feels it too smart, just like the characters it depicts and would be really well served by, ya know, respecting those who view the film.

This movie makes no ******* sense! I started watching and expected it to conclude to something sensible but it is just mental. Complete waste of my time and sanity. I can't believe that someone made money by selling this script

This should technically go under 'unscored' or 'not a number', as I didn't consider this to be a movie. Since this is not a possible option, I've gone with zero.