Tape (2001)

77% of critics liked it
(90 reviews)
75% of users liked it
(7,646 ratings)

In the same year that filmmaker Richard Linklater explored the possibilities of image manipulation in digital filmmaking with Waking Life, he also embraced the new medium's potential for creating intimate character portraits under confined circumstances with this feature, based on the play by… More In the same year that filmmaker Richard Linklater explored the possibilities of image manipulation in digital filmmaking with Waking Life, he also embraced the new medium's potential for creating intimate character portraits under confined circumstances with this feature, based on the play by Stephen Belber. Johnny (Robert Sean Leonard) is a 30-year-old filmmaker who is enjoying a recent run of success and has returned to his old hometown of Lansing, MI, to show his latest project at a film festival. While in town, Johnny pays a visit to Vince (Ethan Hawke), an old friend from high school who is staying in a nearby hotel. Vince has never had a knack for responsibility and these days scrapes together a living as a low-level drug dealer. Johnny and Vince discuss their lives, with Johnny more than a bit judgmental about Vince's current situation, when the conversation turns to Amy (Uma Thurman), a girl who was Vince's girlfriend through much of high school and who Johnny dated for a brief spell afterward. Johnny confesses that he hasn't thought about Amy in ages, but Vince informs him that she's living nearby, then begins firing a series of increasingly pointed questions at him about his relationship with Amy, concluding with the shocking accusation that Johnny once raped Amy at a party. Like Waking Life, Tape was entirely shot using digital video equipment, and director Linklater remained true to the story's origins as a stage play, using only three actors and one set for the entire film. Both Tape and Waking Life premiered at the 2001 Sundance Film Festival. ~ Mark Deming, Rovi

Play Trailer

Rating, Runtime: R, 1 hr. 26 min.
Directed By: Richard Linklatter, Richard Linklater
Written By: Stephen Belber
Genres: Drama

In Theaters: Nov 16, 2001 Limited
On DVD: Apr 16, 2002
Studio: Lions Gate Releasing

Critic Reviews

Geoff Pevere, Toronto Star
If Tape's claustrophobia doesn't get to you, and if you've got the intestinal fortitude to spend nearly 90 minutes in intimate proximity with two equally unlikeable guys, the movie does exert a certain propulsive fascination.
Liam Lacey, Globe and Mail
For the most part, Tape is smart and deftly executed, with Hawke, in particular, as the resentful Vince, making a vivid impression.
Peter Rainer, New York Magazine
The performances are amazingly charged and fluid.
Jay Boyar, Orlando Sentinel
There's a place in the world of the cinema for filmed theater, especially when it's done as well as it is here.
Michael O'Sullivan, Washington Post
Implodes under the weight of its own 'excessive linguistic pressure.'
Steven Rosen, Denver Post
A failed experiment with arresting moments.
Jeffrey M. Anderson, Combustible Celluloid
Though I admired the idea behind the film, the execution, and the performances, the material doesn't seem to add up to anything.
Derek Smith, Cinematic Reflections
Linklater is testing the boundaries of what can be done with digital video, thematically as well as visually.
Spence D., IGN Movies
Tape brilliantly mixes sex, lies, and videotape-esque quirks with some supreme mental fornicative twists to produce an engaging chunk of film.
David Nusair, Reel Film Reviews
Unlike some other filmed plays, this one contains dialogue that sounds realistic.
Mark Robison, Reno Gazette-Journal
The actors show great chemistry, reveling in the dialogue as they inspire each other to greater heights.
Anthony Miele, Film Threat
As the film progresses and voices are raised the audience is dealt a very interesting and compelling film.

Read all 12 critic reviews

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Featured Audience Ratings

Conner R

Ingenious in its execution. This relies on its minimalistic setting and performances. Thankfully, both deliver in spades. Ethan Hawke and Robert Sean Leonard re-unite and have even better chemistry than they did in Dead Poet's Society. The story unravels in a way that keeps you… More
Ingenious in its execution. This relies on its minimalistic setting and performances. Thankfully, both deliver in spades. Ethan Hawke and Robert Sean Leonard re-unite and have even better chemistry than they did in Dead Poet's Society. The story unravels in a way that keeps you on the edge of your seat, but also believable to the ultra-realistic narrative. Taking place in real time and in only one set, there seems to be so much emotional weight to the characters and their shared history together. While this might not be for everyone, I though it was pretty incredible.
Michael S

Great acting.
Mark A

A powerful drama that explores the perceptions of three friends from high school revisiting a traumatic event from their past, ten years later. The action all takes place in a small, dingy motel room. Although to call it action is being generous. Almost completely dialog driven, there… More
A powerful drama that explores the perceptions of three friends from high school revisiting a traumatic event from their past, ten years later. The action all takes place in a small, dingy motel room. Although to call it action is being generous. Almost completely dialog driven, there is little action to speak of. The acting is terrific. Ethan Hawke is Vince and the catalyst for painful revelations from Jon, his best bud from high school, played by Robert Sean Leonard. Uma Thurman plays Amy, the girl that came between them. The camera work was a bit disconcerting as it would alternate between hand held and steady cam and at times the dialog between two characters resembled a ping pong match, panning back and forth without cuts. But the intimacy of those camera shots in that small room engendered a claustrophobic effect that served to ratchet up the tension. After all is said and done, we are still not sure what really happened in high school. But these three can no longer be called friends. The pieces no longer fit.
Mike T

I'm compelled by this film's thematic component, by the nature and contrast of its three brilliant performances, and by its stage-oriented approach in general. This is a gripping and very brave film, and the script's somewhat simple structure provides room for deeper… More
I'm compelled by this film's thematic component, by the nature and contrast of its three brilliant performances, and by its stage-oriented approach in general. This is a gripping and very brave film, and the script's somewhat simple structure provides room for deeper undertones and nuanced character study. Really, really good stuff.
Henrik S

A very intense "film" version of Stephen Belber's great play. I put "film" in quotation marks because it feels more like a play of film, three actors, only one room and the camera usually focusses on the face of the actors with the dialogue and subtle facial… More
A very intense "film" version of Stephen Belber's great play. I put "film" in quotation marks because it feels more like a play of film, three actors, only one room and the camera usually focusses on the face of the actors with the dialogue and subtle facial expression being the focal point of the take. A very good movie, although Id rather see it as a play obviously. Nice to see Leonard and Hawke reunited after Dead Poets Society, they are both good actors and underrated, especially Leonard. You should see this H.
Sunil J

Uma Thurman is amazing here and I love that it's shot in one room and feels like one long take.
FanGirl B

Self-important boring talk-fest.