The defence The Arthouse Gremlin
“Its refusal to behave is the point.”
The strange choices create the kind of friction that follows you out of the theatre and into the argument.
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Idle Hands
Comedy · Horror · Fantasy · 1999
Anton is a cheerful but exceedingly non-ambitious 17-year-old stoner who lives to stay buzzed, watch TV, and moon over Molly, the beautiful girl who lives next door. However, it turns out that the old cliché about idle hands being the devil's playground has a kernel of truth after all.
Movie details
Idle Hands
“The touching story of a boy and his right hand.”
1999 Comedy · Horror · Fantasy 1h 32m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.2 / 10
Community rating
Anton is a cheerful but exceedingly non-ambitious 17-year-old stoner who lives to stay buzzed, watch TV, and moon over Molly, the beautiful girl who lives next door. However, it turns out that the old cliché about idle hands being the devil's playground has a kernel of truth after all.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Idle Hands?
For the defence
The Arthouse Gremlin
“The stranger, the better.”
Read their case For the prosecution
The Prestige Tourist
“You like your greatness pre-approved.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Where it lives
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Streaming availability data supplied by JustWatch.
Names above the title
The people responsible.
Cast & crew
Directed by
Rodman Flender
Written by
Terri Hughes · Ron Milbauer
Devon Sawa
Anton
Seth Green
Mick
Elden Henson
Pnub
Jessica Alba
Molly
Vivica A. Fox
Debi
Jack Noseworthy
Randy
Christopher Hart
The Hand
Court is in session
Put Idle Hands on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Prestige Tourist
“Oddness is not depth.”
A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.