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Idle Hands

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.

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?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rodman Flender

Written by

Ron Milbauer · Terri Hughes

Devon Sawa

Devon Sawa

Anton

Seth Green

Seth Green

Mick

Elden Henson

Elden Henson

Pnub

Jessica Alba

Jessica Alba

Molly

Vivica A. Fox

Vivica A. Fox

Debi

Jack Noseworthy

Jack Noseworthy

Randy

Christopher Hart

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 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.

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.