Grinning, giddy Tanna Frederick continues her rise to buzzy stardom, at least in the world of Henry Jaglom’s L.A. vanity movies. After the opening logo (a shot of Orson Welles’s face), all style vanishes, the plot starts to curdle, and we are left in the Jaglom zone of sterile lighting and forced situational humor featuring his Hollywood friends, including a forlorn Peter Bogdanovich. Frederick, so sincerely amateurish, is often like a migraine with hair, but men in the movie fawn over her. (2010) — David Elliott
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