I always watch everything through to the end. That there were no likeable characters was a non-plus, I'll admit. The end was a bit of a redemption, though, on many levels. The music video part was an homage to Richard (Donnie Darko, Southland Tales) Kelly, who was one of the producers. Bruce Hornsby is a necessary plot point, and Bobcat's daughter chose much of the other music in the film.
I would've given it a "C" or lower until I listened to Bobcat's commentary track. (the making of featurette was pretty funny — the director of the featurette asks everyone what the movie is about and they all give some variation on, "It's about masturbation and making sure you do it right.") He says he's coming into a self-discovery of what he feels is his purpose in life now, in his middle age — making these little indy films. Apparently he turned down several financiers who wanted to "give notes" on the script, but freely adapts scenes and dialog with the actors. While the end result might not be the greatest movie ever, or even the best movie it could have been, it's an interesting journey to study his somewhat wobbly-handed attempt at craft and style.
I had forgotten Robin Williams was also in his first movie many years ago, Shakes the Clown. I haven't seen his Sleeping Dogs Lie from a couple years ago, but now I want to.
"The trouble with being a ghost writer or artist is that you must remain anonymous without credit.
If one wants the credit, one has to cease being a ghost and become a leader or innovator." — Bob Kane