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the audience applauded

It's entirely possible that sending the audience out feeling lousy was intentional

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

This movie feels like it was made purely to piss off people who want good shows

Don't waste your time. Go take a nap instead! The characters were not believable. The story line was terrible.

This is gonna be short. This film was NOT at all a comedy. IT was not really a thriller either. IT falls perfectly into that Drama niche that so many films, even B Movies like this one . I could almost put myself into the shoes of the main character and what he goes through, and that was about the most gripping though strained part I liked about the movie.A believable performance from actors I recognize, yet in how unbelievable it all was. Wont ever watch it again, but it did serve to make me think, even though, as I stated, it was a B movie.All in all if one has the time and doesn't care what they watch or listen to in the background of whatever else they are doing, then perhaps this movie is for you.

Most films eventually s$%# the bed by the third act. This one does, literally, in the first five minutes. . . Intrigued? I'll press on. Stuck is the story of two polar opposite characters that find themselves at odds with each other through a random and cruel series of events. Based on a true story from Fort Worth, TX sometime in the early '00s, screenwriter John Strysik and director Stuart Gordon (Re-Animator, From Beyond) rip this bizarre true crime from the headlines and build a unique yin & yang of character and motivation, examined through angles of compassion (lack thereof) and macabre violence. Stuart Gordon has never been more on top of his game.First we meet Brandi Boski (played by Mena Suvari, looking hilarious in cornrows). She works as an R.N. for a convalescent home. The opening credit sequence (perhaps my favorite in recent memory) hilariously juxtaposes the sad reality of a sterile care facility for the elderly, with an abrasive hiphop soundtrack underneath and an animated title graphic. I am immediately won over and ready to be entertained and enlightened. Brandi learns she is a front runner for a promotion, suspiciously, as she's asked to work on a Saturday by her boss (played by Nurse Ratchet). Then we are introduced to Thomas Bardo (interesting factoid: the name Bardo was chosen as the Buddhist term for "intermediate or transitional state of being"), a down on his luck unemployed middle aged man who is carelessly thrown out of his temporary housing having run out of unemployment benefits. Now homeless, he is prowling the same street Brandi is careening down in an inebriated state, celebrating her potential promotion. Thomas is impaled through Brandi's windshield as she drives home (miles away) and parks him in her garage while he bleeds out. Fairly quickly the film puts us in a hopeless position and from the get- go things consistently get worse, for everyone. What do they say about comedy? Tragedy plus time. Tragically, we're in real time and the laughs hit hard and to the bone (like the windshield wiper in Bardo's gut). The humor acts as a coping mechanism for the unrelenting s%^$ storm that blows across the screen. It's nervous laughter, really. Why doesn't Brandi take the injured man to a hospital? Each decision she makes is the wrong one, made out of self preservation. She really wants that promotion, and an extra couple of dollars an hour is worth the blood on her hands (and in her car). After a series of agonizing attempts to free himself, the conclusion is satisfying and awesomely unfaithful to the real event the film was based on. We have to keep championing these tight, clever little movies. I think this film made something like 8 dollars upon it's Blockbuster exclusive DVD release, whereas the flavorless and over-budget umpteenth Godzilla remake is on its way to making over a billion. It is Stuart Gordon's last film and that could be why. He should have made three more by now if you ask me. Let's pay more attention to the nooks and crannies, and hopefully we won't get STUCK!-Aaron Sausedo

Bardo's luck has run out. He's thrown out of his apartment, penniless and homeless -- social services are rude and useless and the cops won't let him sleep in the park. Just when things couldn't get worse, he literally crosses paths with Brandy who is high on E. Bardo gets embedded in her windshield after she plows him down and leaves him to bleed out in her garage, while she goes about her life. As far as demented comedies go, this one delivers. Even as the comedy gets good and gory, a very good grounded performance by Stephen Rea keeps this from going over the top and you care enough for the poor bastard that you want him to get free from all that glass. The finale heads a bit too far into Stuart Gordon gross out territory, but that is hardly a criticism as we get a bloody audience friendly end. The running time is wisely brisk as there's not much story here, but we get gallows humor by the bucket full. As typical for a Gordon film, it looks visually behind the times by about 15 years, but he gets a quality performance from Suvari, who carries her scenes very well. Stuart Gordon has had such a bizarre career with highs and lows (really lows), from his classic B grade Re- Animator to barely watchable direct to video junk like Castle Freak, this one he knocked out of the park. After the train wreck that was his previous film Edmond, he shows a command of tone and humor and intelligence that has been missing from his work for some time.