Tape is a wonderful addition to Richard Linklater's filmography, it being one of his only thriller films. But it was still great seeing him use his skills and styles to make one of his both most unique and fully Linklater films. Even though it all takes place in one room, Tape never fails to keep me entertained by the riveting dialogue and plot. It's amazingly written, and puts as much plot and character as it can into one room. The two leads also do a great job playing their respective parts in a believable manner. Many could criticize the film for its bad digital video quality, but I loved it. I love the look of this era's digital video, and the small camera allows for a loose and more realistic feeling to this film, and some of Linklater's most interesting cinematography. Tape may not measure up to Linklater's masterpieces, but it's still a very strong film and a great watch for any Linklater fans.

Not what I was expecting, but the plot was interesting for the most part

99% of the budget went to the three actors. Linklater is clearly a very capable filmmaker but he (and his performers) strain their abilities here and the end result is certainly not stellar.

One could I guess call this a very well crafted example of the "Dogma" style. It touches (among others) upon a delicate issue -that of sexual misconduct and its consequences- with great intelligence and elaboration, bringing to light the often oversimplified or ignored complexities of certain experiences in which even the meaning of the word "consent" becomes problematic, and in which the defense of the victims is finally another mask of selfish interests or unrelated frustrations. The acting is very intense and full of emotions. The atmosphere is that of a good theater play. Very recommended.

Tape is a good "movie in a single location" movie which focuses on dialogue to hold our sway. It's filmed in real time and the acting is solid from all involved- Ethan Hawke especially. Many critics have compared it to a play and it feels so. Richard Linklater is both an auteur and a risk taker- similar to Steven Soderberg and this is another film where he showcases his talent.

Though the cheap camerawork is unnecessary, the acting and pacing make this a surprising good story in real time.

Last half hour made for entertaining viewing but I fast forwarded through the first 45 mins and even fell asleep! Really only gets interesting when Thurman shows up. Up to that point is just a long drawn out lead up to her arrival!

Linklater at his most amateur state, 'Tape' is more of an example of the direction in which his filmmaking is heading towards. To a critical viewer, it could be very rewarding to learn from the mistakes in building the characters, something which the director has not much of an issue with later. Its also the most cinematic of his films, where the realism of the characters fade away every now and then for rather cheap and meaningless reasons. Still a worthwhile watch of 3 people conversing in one room for 84mins.

If you can handle the arguing in circles and certain character douchebaggery, Tape is an intriguing study of character exhibiting good direction and the on point performances from its three leads.

I wasn't sure what to expect seeing famous actors with a known director in something that looks like a bad student film. The first half is hard to sit through, not just because of its extremely low budget but because it's two unlikable guys just talking. I'm not quite sure when (the arrival of Thurman helps) but at some point it goes from tedious to riviting.

It's too easy for characters in a film to get out of an uncomfortable situation. A substantial number of dramas avoid heavy conflict until it's time for the climax, when gloves have to come off for sake of some sort of conclusion based excitement. It's to be expected and oftentimes rewarding in terms of catharsis, but "Tape" is a special experiment in indie filmmaking because it is an entire movie consisting of that scene. Set in one hotel room and featuring only three actors for its entire length, anything developed is an aftereffect of confrontational conversation, two of the trio of characters dying to be anywhere else. The film reminds one of the naturalistic style of John Cassavetes, being photographed with a cheap camcorder and showcasing three unrefined, unflinchingly, dare I say it, real performances. And one can't imagine it was an easy production, considering the small size of the central hotel room and the way the cinematography is as visceral as cinematic camerawork can be. We are first greeted by Vince (Ethan Hawke), a small-time drug dealer/volunteer firefighter camped out in a seedy hotel room for his hometown's annual film festival. He has come back to the city in support of his high school buddy, Jon (Robert Sean Leonard), who, making his directorial debut, has won a screening of what he hopes to be a big success of a feature movie. "Tape" gets going when Jon knocks on the door, who expects a brief visit but gets something much more in return. Vince, cunning and nettlesome, is bothered by something that doesn't involve supporting Jon's professional aspirations in the slightest. What he's bothered by, it seems, is some unsettled drama from the last days of high school: Vince is certain that Jon date-raped his first girlfriend, Amy (Uma Thurman), with whom he never slept with himself. Concerned that the event might have been a trauma Amy never got over, he plans to, without Jon's knowledge, record a confession and hand it over to her, or better, the police. But because Jon is level-headed and mature in comparison to the squirrelly, cocaine-snorting Vince, we're slightly doubtful of Vince's accusations. So things get even more interesting when Amy herself comes to the hotel room, with a recollection completely different than what we might expect. "Tape" is only 86 minutes long, takes place in real time, and never changes its environment of drama - if it isn't the very definition of an acting movie, I don't know what is. It is reminiscent especially of 1966's "Who's Afraid of Virginia Woolf?," not for its content but for the way it is filmed without a hint of a stylistic singularity, letting the actors, the increasingly tense nature of the screenplay, jerk our senses around in ways that practically redefine the meaning of entertainment itself. Of course, it is too brief, and too minor when putting the careers of the actors into perspective, to be anything other than a fascinating acting exercise of high merit, but that doesn't make it any less of a vexing experience. It underlines the power of acting, and makes a good case for the brilliance of these three actors, who pull off roles more difficult than anything most mainstream actors would ever have the balls to deliver. It is also directed by Richard Linklater, whose iconoclastic filmography consists of such classics as "Dazed and Confused," the "Before ...." films, and "Boyhood." But "Tape" is unlike his other projects in that you can't tell that it's made by a big-hearted, humanistic auteur - he lets his actors, not to mention screenwriter Stephen Belber, do the talking, he the glue that pieces everything together. And so "Tape" is a sturdy, involving experiment, taking characteristics of amateur filmmaking and making them something concrete, confessional.

A fantastic admirable work, with blistering dialogue and clever cinematography. This is a sure one for the cinephiles.

Richard Linklater is recognized for his character studies, and "Tape" has got to be his most twisted and confined.

To me, Richard Linklater is a dialogue guru and a master of minimalist storytelling. Tape is a perfect showcase of these two things. Taking place entirely in a sleazy motel room, this simple film is about three characters dealing with an event that happened years earlier during their high school days. Considering how little is actually going on here, it's amazing how entertaining this film is. Yet again, Ethan Hawke is absolutely brilliant in a Linklater collaboration. That team-up has become one of my favorite duos - it's always pure quality. I couldn't help but to be sucked in by the fantastic dialogue that this entire film relies on. It's so realistic and not everyone could pull it off. This is where Linklater really shines. I could have listened to these characters go back and forth for another hour and not be bored with it. For what it is, this is a very impressive film.

Very under appreciated, one of my favorite Linklater movies.

Intensely claustrophobic, it's nothing but talk in one interior! No one else could have made this! Linklater _/\_

One hotel room for the whole duration and 3 people (one joins half way through), but compelling human drama from Linkater. This is one of his lesser known works, but deserves more audience.

"I'm not high and mighty. I'm too high to be high and mighty" As a companion piece to the marvellous Waking Life, director Richard Linklater delivered this experimental and solid little adaptation of Stephen Belber's stage play. Some may not have even heard of this one, let alone seen it as it's probably one of his most unseen works. As always with Linklater, though, it confirms his place as one of the most original and under appreciated of American filmmakers. Jon (Robert Sean Leonard) is a local boy who catches a big break as an actor and returns to his home town to attend a film festival where he is appearing in a new movie. At a motel he meets up with Vince (Ethan Hawke), his old high school friend. However, Vince hasn't changed a bit and seems intent on bringing up things from the past which Jon seems happy to let go of. When (Uma Thurman), another friend from school appears, things don't quite add up as their past relationship has more to it than some of them care to admit. Set entirely within the confines of a small, cheap motel room with bad decor, Linklater's ingenuity is apparent from the offset. He shoots on digital video achieving a true minimalism that fully captures the feel of a stage play. There's no music score or elaborate sound effects, but only the highly charged, back and forth interaction between Hawke and Leonard (reuniting after Dead Poets Society). This might not sound too appealing on the surface but it's entirely effective for the material and the inclusion of an old flame in Thurman, adds a captivating edge to the overall purpose and motivation of the three-dimensional characters. As a chamber piece, dialogue is the order of the day here and it's sharply written and tensely delivered by all three cast members. Their awkwardness is apparent in their exchanges and they have us constantly wondering who to side with while Linklater utilises his environment to marvellous effect. In such a confined space, his movement with the camera is very impressive and he fully captures the claustrophobia and tension to perfection. Sometimes Linklater will delver a film that just doesn't receive the recognition it deserves and Tape can certainly be included among these. Criminally overlooked upon it's release (and since) as this is a brilliantly realised adaptation that benefits from strong performances, inventive direction and maintains it's intensity right to the very end. Mark Walker

Não há como retirar a Richard Linklater o mérito de ser, a par de Steven Soderbergh, um dos poucos realizadores norte-americanos capazes de alternar entre produções à grande escala e projectos pessoais com uma orientação mais experimental - e isto sem que nenhuma das duas facetas anule a outra por completo. Isso não significa porém que o Linklater indie seja superior só por ser mais aventureiro. "Waking Life" e "Tape", ambos filmes de 2001, são exercícios cheios de boas intenções e vontade de agitar as mentes, mas nenhum convence por completo (sendo que o primeiro é bem mais chato). Em "Tape", Linklater procura transformar em filme uma peça de teatro com um texto dinâmico e complexo, que não nos larga da mão, enquanto não tivermos feito a devida reflexão sobre a culpa e o que separa o sexo de uma violação. Assistir ao ricochete constante, que resulta de um diálogo altamente testosteronizado entre Robert Sean Leonard (actor injustamente chutado para canto) e Ethan Hawke (incapaz de disfarçar algum overacting), é o suficiente para ficarmos agarrados a "Tape" durante uma hora e meia, mas, no final, sobra apenas o vazio próprio de uma gigante discussão que não levou a qualquer conclusão substancial. Não admira, porque Richard Linklater é muito melhor a montar um brainstorm do que a encontrar uma finalização satisfatória para os seus filmes pensativos.

Had a bit of a slow start, but the acting was good, the concept was interesting, and the script was solid. I liked it.