Masked and Anonymous

Who deserves a vanity movie more than Bob Dylan? According to Masked and Anonymous, Bob Dylan’s embarrassing love letter to himself, no one. If you think Dylan is a great poet, you’re sure to love the incomprehensible dialogue and I’m-so-cool plot of this film. If, like me, you think that writing "I ain’t gonna work on Maggie’s farm no more, I ain’t gonna work on Maggie’s farm no more, I ain’t gonna work on Maggie’s farm no more," does not qualify one to be considered the second coming of Shakespeare, then I’d give this a pass. To distract from Bob Dylan’s pathological inability to act, he’s hired an almost infinite number of guest stars, and then pointlessly sandwiched them into this story. While Giovanni Ribisi gives a great turn, you’ll have to wade through some meaningless, irrelevant crap spewing out of the mouths of Mickey Rourke, Chris Penn and the truly execrable Val Kilmer to see him, and brother, I wouldn’t wish Kilmer’s monologue on a buck-toothed terrorist. On the plus side, this movie is marginally worse than chewing aluminum foil while sitting on broken light bulbs, but only marginally.