User reviews

I purchased The Boondock Saints on DVD back in the summer of 2002 solely on word-of-mouth buzz from a few friends without so much as seeing a trailer for it, one of only two times I've done so. Like most guys, I liked it immensely and I too passed on recommendations to other friends. I consider myself a pretty avid film buff, so I couldn't understand why I had never heard of the movie's writer/director Troy Duffy beforehand. After some research I finally found a copy of Overnight, and after watching it I now know the answer to that question. This documentary captures with stunning insight and clarity the story of a man who essentially wasted a once in a lifetime opportunity by way of his incredible arrogance and profanely abusive personality.

If you were to look up "karma" in the dictionary, you would probably find a picture of Duffy with the definition. The story sounds too good to be true, mostly because it is. Here's a guy who was handed quite possibly the most incredible opportunity for a first time movie-maker in the history of Hollywood, and it managed to come crashing down before it even took off. A script for The Boondock Saints personally purchased by none other than Harvey Weinstein, a recording deal for his band and the purchase of the bar he was working in at the time making him a co-owner: all of these things were placed at his feet. Such an overwhelming reversal of fortune seemingly out of nowhere would be hard to handle for anyone, but instead of meeting the deal with gratitude and humility Duffy instead used it as an excuse to further inflate an ego that was apparently immense even before his incredible run of luck. Friends and family were verbally assaulted, complete strangers were subjected to vulgar tirades and members of his band were denied any credit concerning the group's record deal. In one of Overnight's more memorable scenes, The bands co-managers are told by Duffy that they don't deserve any of the band's profits because they were only there by his good graces and hard work. Through an amusing if not catastrophic series of events, the film deal with Miramax fell through, the band's contract was terminated before they even set foot in a studio and no other studio in Hollywood would even consider making The Boondock Saints. The dream, for all intents and purposes, was over.

Duffy eventually made Boondock Saints on half the budget offered by Miramax with a 5 theater theatrical release and the band's album was a resounding flop with less than 700 copies sold. The band's co-managers, once good friends and the co-directors of this film, originally set out to make a documentary of Duffy's rise to stardom but changed their tone drastically once he revealed his true persona. The result is a scathing and often startling glimpse into the downward spiral of a modern day Narcissus undone by his own greed and hubris. Plans for a Boondock Saints II release sometime in 2009 generated mixed buzz on the internet with many people stating the time for a sequel has long passed to have any sort of success. If the sequel does indeed become a hit, it will would be hard to attribute its good fortune to Duffy and perhaps even harder to not harbor jealousy towards him. As Overnight convincingly shows, it wouldn't be well deserved.

Troy Duffy is an idiot. Just watch Overnight. In it he bullies film executives, record producers, band members and friends. But even worse than this, he thinks he's some sort of genius. He thinks he's a great musician and filmmaker.

Validating Duffy's delusion is the fact that Miramax buys his script for The Boondock Saints. Thinking he's the next Tarantino, they give him $300,000 for the script, they hand him the reigns to direct the movie (with a $15m budget), they allow him to produce the soundtrack with his band, he gets to approve casting and is allowed final cut, and the final part of the deal is that Miramax will buy his bar (prior to getting into film, he's a bartender and bouncer). It's a great deal. It's an amazing deal. It's a deal that's out of this world. Only a moron could screw it up.

Well, Troy Duffy is that moron. Given this great deal, he proceeds to abuse and alienate everyone around him. So much so that a film that initially starts out as a loving document to his talents ends up being a character assassination.

One of the first things we hear from Duffy's lips is that friendship is the most important thing in the world to him. Therefore one could assume that, despite the rough edges, he's an honourable guy. Nothing could be further from the truth. In one ball-shriving scene he refuses to pay his friends who had operated for a long time as the managers of his band. He says they don't deserve any money. His friends then point out all the time they spent managing the band – all the effort they put into it. Duffy then changes his mind and says that they do deserve the money. But at the same time he says he's still not going to give it to them. This he says to people who are in financial problems because of him. People who have broken their back for him.

But this actually isn't the first record deal that the band receives. Earlier on Maverick Records sign them up sight unseen. But just when you're slapping your head at the stupidity of Madonna's label, Duffy messes up and annoys them. He then rants and raves and says the label is scared. He says they're scared of how good the brood are. What the hell? If Duffy is right then he's saying that the label are scared of making lots of money? Yeah, makes perfect sense.

But eventually the band get signed to Atlantic Records, which leads to the argument over money with the former band managers (who, incidentally, are the makers of this documentary). The moment when the band is signing their contract and receiving their money in cash is pathetic. They're like dogs begging for scraps.

But thankfully the album has a happy ending. They only sell 690 copies…after being in stores for six months.

And yet earlier in the film, when they're recording, Duffy wonders why his fellow band members haven't been coming up to him and shaking his hand for securing the deal. He even says that the album isn't a group effort. He says it's all down to him – without him, there's nothing. So surely that means that the album's failure is his and his alone? Maybe his fellow band members should line up and take turns punching him in the face.

But Duffy's film fares just as well as his album. It's dumped in five theatres for one week and makes $25,000. It's pathetic even for him.

However, I'm sure Duffy would have lots of explanations for this. You see, after getting a great deal with Miramax, he proceeds to alienate them to such an extent with his bitching and moaning that they pull out. Therefore the film is financed independently. Of course this doesn't concern Duffy, who says that when the film is made and Miramax want back in, they can pay their way back in. But when it comes to selling the film, nobody wants a part of it. Most of the time I'd be appalled that a filmmaker could be blacklisted and that the industry would conspire against him, but here it makes me happy. Duffy is man who was given a great chance to prove himself. All he had to do was shut his mouth and get on with things. Instead he acted like a child and tried to throw his weight around. Hell, at one point, before he's even shot a foot of film or recorded one note of his album, he says that he's gone straight from a bartender and surpassed everyone – he's already right at the top. Only an idiot could think that way – don't you have to have produced something first to be at the top? Therefore the film's awful distribution deal had me grinning like a loon.

I'm also kind of amused by the way the makers of the documentary try and screw Duffy over. In one scene we see Duffy bemoan his ability to find a decent girl – he just wants to find a nice girl he can settle down with. We then cut to some sleazy footage of a drunk Duffy getting girls to show him their breasts. The film never tries to be objective and is all the more entertaining for it.

Unfortunately, though, there is a black cloud that hangs over me. The Boondock Saints became a cult hit. There are many people who love it. But just when I feel low I remember that Duffy isn't a profit participant in the cable and DVD sales – he just got a lump sum of money. Therefore Duffy doesn't make a cent out of the film's success in the home market. How brilliant is that?

There is nothing more enjoyable than watching a very mean and terrible person getting what he deserves. It helps me get up in the morning that complete jerks like Troy Duffy get what they deserve. He is an egotistical under talented sexist intolerant moronic alcoholic piece of trash that I have no sympathy for. He clearly did it to himself. Although I have to say this film was not well put together and carried on on some subjects too long it was very entertaining. It is amazing to see how much Troy Duffy thinks of himself. He is a jerk to his whole family especially his brother. I really cannot believe he is trying to get back into the industry with Boondock Saints 2. Poof!

You know when you get yourself into one of those uncomfortable situations where several people are yelling at each other and you're stuck in the middle feeling awkward? That is what watching this documentary felt like.

This is a documentary seven years in the making that focuses on an arrogant, naive and very stupid bartender named Troy Duffy. Back in 1997, he literally "overnight" became the latest "rags to riches" success story in Hollywood where his script "THE BOONDOCK SAINTS" was bought by Harvey Weinstein (of Miramax Pictures) and was given the green-light to direct his own feature and provide music from his band for the soundtrack. Harvey was also considering co-owning a bar in West Hollywood with him, and it seemed like everything that Troy had worked hard for his entire life was finally coming to fruition.

Well not really. He could have had it all, but like most stupid people, he wasn't satisfied with what he was given and he demanded more.

Unlike Terry Gilliam's almost-comical "LOST IN LA MANCHA" which was plagued with natural disasters, bad scheduling, bad production and bad luck, Troy Duffy played his own hand in sending his dream project into assured failure.

For Duffy, his biggest enemy was himself. Although this documentary tries to make out Harvey Weinstein as some sort of Hollywood tyrant (which apparently isn't that far from the truth), Duffy was the one who ultimately destroyed his own career and that of his fellow band-mates who were too intimidated to stand up to him and tell him that he was going all about it the wrong way.

First of all, Duffy's biggest problem is his attitude. It's BAD. He's one of those people who not only THINKS AND KNOWS that he is RIGHT, but certainly doesn't hold back any feelings when it comes to telling other people that they are wrong (even if they're not).

Watching Duffy mingle with D-list celebrities like Paul Rubens, Patrick Swayze, Jerry O'Connell and Mark Wahlberg was nothing more than deliciously amusing, showing both sides of the industry kissing serious ass.

Even for those who don't even know what this documentary is about, watching him destroy his dream and career is inevitable from the first few minutes when you get to explore his vulgar personality and character. He went into Hollywood with no idea and basically left barely any the wiser.

The people you feel most sorry for are his band-mates. Although they also had a part to play with the miserable launch of their so-called music career, watching Troy sink them as he tries to pull his imaginary strings in the music industry is a notch below humiliating, not to mention embarrassing.

The worst part was seeing him trade barbs with that slimy excuse of a man who headed the casting agency, watching them at the Cannes Film Festival revel in the value of the almighty dollar before getting any of their facts straight first.

When it said that their album had sold 690 copies in six months (yes you read correctly, 690), there were a few awkward laughs in the audience. I don't think anyone in the audience really knew what to make of Duffy's actions. I felt not only embarrassment for him, but also disgust. He has quite a mouth on him and is not afraid to use it. One scene in particular shows him mouthing off in front his mother (who doesn't seem to be the least bit phased by it), and another scene showing him screaming into the speaker-phone about accusations of being called a liar. Watching it will really make your skin crawl.

It's hard to say as to who the documentary was trying to prove who the bigger tyrant was - Duffy or Harvey Weinstein. After all, Harvey has the comfort and leisure of being that way as he is a self-made man. Duffy on the other hand isn't.

There is one bizarre scene in "OVERNIGHT" that seemed like it came out of nowhere. It involved the premiere of Duffy's movie at a tiny cinema and his 'attempted' hit-and-run with an automobile that occurred outside. It's almost as if they tried to imply that Harvey Weinstein had ordered a hit on him or something, which only made Duffy look even more stupid.

While the conclusion of the documentary shows that the only people who stood by him - his friends, the people he ended up alienating now working in construction or manual labor, you can't help but exit the screening with a bad taste in your mouth and ponder the idea as to whether he has learned anything from all of this.

There is no question as to whether Duffy has any talent - obviously he does as there seems to be a cult following to the movie "THE BOONDOCK SAINTS". However, whether he has learned anything from his experience in BOTH the music and film industry is doubtful. Time will tell with the release of his next project, a sequel to "THE BOONDOCK SAINTS".

My Rating - 9 out of 10

There's only one thing worse than a bad loser, and that's a bad winner – and the odious Troy Duffy has to be one of the baddest of the bunch. Gifted with the kind of movie/soundtrack deal that comes along only once in many lifetimes, the foul-mouthed drunken Duffy proceeds, with blind, bombastic foolishness, to throw it all away.

And don't we just love it…

Even as we squirm as new kid on the block Duffy blithely informs agents and producers of how he is the latest biggest thing in Hollywood and should therefore be afforded some of the respect he believes he deserves, we can't help but feel a seed of anticipation at the inevitable downfall that awaits the fool. Duffy burns bridges faster than a retreating Nazi and shows not one jot of remorse or understanding of the huge blunders he has made. Even as things are falling apart about him he stubbornly clings to this unshakable belief that none if it is his fault, and that those around him are to blame.

Of course, most of those around him must share a small portion of blame because they don't have the nerve – whether through genuine fear or simply because they don't want to throw away what they see as a once-in-a-lifetime meal ticket – to stand up to him, even when he treats them like dirt.

This film truly is a unique and fascinating study of the destructive force of an out of control ego, and only because no proper, thinking person really wants anybody – nobody how obnoxious – to come to harm, does it not get a higher rating from me.

Filmed over the period of four years, Overnight chronicles the overnight success of screenwriter/bartender Troy Duffy, and how he just as quickly let his cynicism destroy it all. Former co-managers of the band that Duffy was also a member of, Mark Brian Smith and Tony Montana filmed this material while trying to make money through the bands subsequent success. It is very difficult and overtly irritating to watch this young talent throw his opportunities away because he believes himself to be somewhat pansophical. Overnight shows how alcohol abuse and a small amount of quickly attained fame can destroy someone. This film also comments on how the Hollywood industry caters to big producers, never taking an opportunity to allow this pompous arrogant newcomer another chance. It seems that within this industry one person can make or break the livelihood of another with the swift thrust of a pen. In the risk of sounding cliché, this film does prove that the pen is mightier than the sword. Troy Duffy's film The Boondock Saints was finally produced and distributed, but on half of the original budget, and in 4 theaters across the United States. Since then it seems that Duffy has not swerved away from controversy as the sequel has been in court deliberations for 2 years now over the rights. It seems that Duffy has destroyed the hopes of any young aspiring filmmakers, and sent all aspirations and dreams galloping away on his pretentious high horse. Hopefully this documentary will lend as a learning tool, an example of how not to act, instead of a reminder to companies like Miramax of their mistakes.

I saw this film at the San Diego Film Festival and consider myself extremely lucky to have seen it. The film chronicles the rise and crumble of Troy Duffy, temporary wunderkind. The film managed to capture the process of instant success and provide such a thorough window into one man's descent into his own ego. Duffy manages to ruin every single wonderful opportunity he is blessed with. He becomes a pariah in the film industry, a dirty word that even the munificent Harvey Weinstein won't touch. It is an incredibly intense, cringe-inducing film as you see Duffy unravel in front of the directors ever-present camera. Duffy uses the camera as confessional and it in turn captures his self-inflicted demise. It is a testament to the filmmakers ability that they managed to infuse the film with a palpable sense of pity for their subject. This film must be compulsory viewing for any filmmaker as a cautionary tale into the heart of hype, ego, and the fleeting love affair Hollywood has with the next big thing. Bravo gentlemen, you've made a great film.

This is the story of David and Goliath; except Goliath wins. (You didn't buy that story about the sling, did you?) David in this case is Troy Duffy, Boston bartender-turned cause celebre, after Miramax boss Harvey Weinstein snaps up his script, The Boondock Saints, in a promised multi-million deal. Amazingly, Duffy will also direct and his bad, the rubbishly-named 'The Brood', will score, having rush-signed with Madonna's record label. Trouble is, Duffy's ego is easily the match for Harvey's ("There is a deep cesspool of creativity here" he bellows without irony) and he soon, er, displeases Harvey, who dumps the project without a second thought. From this point on it's a study in psychosis: determined to get his movie made, Duffy the duffer alientates absolutely everybody (including the documentary makers) in the face of industry indifference. The punchline? Duffy's finished film is utter guff.

When his script for action thriller The Boondock Saints got picked up by Miramax, Troy Duffy found himself going very rapidly from an unknown barman in West Hollywood to being the hot new property in the movie business. Not only that but his agency manages to use this heat to wrangle Duffy money for the sale of his script, the permission to direct the film and a recording deal for his band to work on the soundtrack; it is the dream opportunity presented to Duffy, his family and friends and it is his to embrace or ruin.

Having not seen Boondock Saints for several years I have not been able to review it but I do recall that it was OK without being anything that special. What I didn't know at the time was the story behind the film, which is far more interesting than the film and serves as a good cautionary tale about the nature of fame and Hollywood politics. Well, I suppose it is actually more about Troy Duffy himself and is more a warning about how you have to play the game to get ahead. It is a fascinating and depressing tale because it shows Troy going from captain at the start, to immediately going below decks and scuppering his own ship. There is a quote at the end of the movie from Albert Goldman about how fame is a revealer rather than a creator and indeed that is true in this case. At the start Duffy is pretty full of himself and being made the centre of everything just makes this worse and he becomes more and more of an arrogant pr1ck who treats everyone around him like he is doing them a favour and they should be glad to be in his presence – and this applies from Weinstein himself right down to Troy's bandmates. And this is the focus of the film – one man's shocking ability to take a goose laying golden eggs and p1ssing it all away.

It is fascinating stuff and it is hard not to feel anything but sympathy for Duffy's friends, some of whom struggle to pay their rent while Troy pockets $300,000 for his script. That he immediately sets himself above them and refuses to give them a break in the same way he got one is a shocking condemnation of the man. I suppose it is interesting to think how we would react in the same situation but it was hard for me to imagine being such a jerk as was shown here. It could have been a stronger documentary by bringing more insight into the political games played within Hollywood or the wrangles behind every film, but in fairness Duffy is such an architect of his won downfall that Montana and Smith just seems to let their material do the talking.

Overall this is not a great documentary but it is a fascinating one. It could have been stronger in regards insight and comment but it is rare to see someone so completely destroy a brilliant opportunity simply by the power of their own arrogance. For this alone the film is well worth seeing and is engaging and interesting.

Like my mama always said, if it sounds too good to be true, it probably is. Also, the things you don't like about people are probably the things you don't like about yourself.

As I watched this movie, all I could think about was how much Troy talked "I, I, I, me, me, me, I, me, I, me" to this and that. Seems to think there's nothing wrong with him and that all the problems were someone else. Funny, seems to me his problems are all him. Not because of him, just simply him.

Hollywood is a business. It's about making money. He was given quite an opportunity and his inability to understand how to operate in the business was his own fault. Hollywood is for adults, and Troy did nothing but act like a child. He bit back to those trying to help him before he even had any clout in the business (either music or movie).

Dreams die hard. No doubt about it. His drunk, smoking, cursing self got exactly what he brought upon himself.

And just a question, why is everyone he doesn't like a "co^&sucker" when he ends up living in the gayest neighborhood in LA? It's obvious this guy was out of his league and has issues. It's also obvious he wanted to be Harvey but doesn't have the finesse, maturity, or business acumen required. He acted like a child in a very adult world.

Like my mama also said, the bigger they are (or try to make you think they are) the harder they fall.

In 1997, Troy Duffy was dubbed the next big thing in Hollywood before he even got a movie into production. Eight years later, he still only has one film to his credit. "Overnight" follows Duffy's almost unfathomable fall from grace, in such a way that it is nearly impossible to turn away from the screen, making the viewer constantly wonder what blunder Duffy will make next. What is shocking is not so much that the script for the pretentious though passable film The Boondock Saints generated such enormous hype, but that Duffy was able to take an opportunity that every aspiring filmmaker and/or musician dreams about and not just blow it, but obliterate it.

From the outset, Duffy is established as an aggressive, take charge individual which could have been a great asset for him if he knew where to draw the line. As the documentary progresses, Duffy's hubris comes to the forefront. He fancies himself as a businessman extraordinare and visionary that can't be bothered to listen to anyone else's opinion in any given situation. Brick by brick, he tears apart his potential career, and we get to see it every step of the way. In the end, his boorish behavior led to him being blacklisted from Hollywood, and his band's album sold so poorly that they were released from their recording contract soon after its release. In a final piece of irony Duffy, after making it known that he's smarter than everyone else, failed to secure any backend profit rights for video and DVD sales of Boondock Saints. The film, after barely being released in theaters, went on to produce strong sales in the home video market.

I gave this movie 9 of out 10 because it gave me great pleasure in the end to see the outcome and downfall of an arrogant, foul-mouthed, fat, dirty, self-centered fool. The other delight is knowing that his downfall is taped and recorded - every word, every damning phrase, every ridiculous self-centered comment all on tape for all to see and enjoy. I wonder if Duffy even has enough money now for a Blockbuster membership to rent this sad depiction of a very sad man - himself. He had everything - incredible luck, family, friends, tremendous support, talent (although this is only proved by his movie not his actions in the documentary) and several chances but he chose to crap all over every single one of them till he ended up sadly where he deserves - with no one, going no where and seeing no plausible way out of it. I would never wish ill on anyone but there is a sweet justice in seeing an arrogant, sad and vain fool get what he deserves in the end. Stacey Brooks, Atlanta, Georgia

What these two filmmakers have managed to accomplish is nothing short of heroic. Duffy's arrogance, insecurity, and fear are so evident in the way he abuses himself and everyone around him, yet he's blind to it himself. No wonder he wears sunglasses all the time. What also struck me was the apparent mindlessness with which everyone just went along with his global bullying. That Smith and Montana manage to evoke even a tiny bit of sympathy for Duffy from some audience members is a tribute to their vision. I was one of the privileged 300 or so to see this in preview at the UCI Extension/Regal screening, and I say privileged because we also were treated to an hour of the filmmakers' time for candid discussion after viewing the film. I am in awe of their endurance, of their perseverance, of their solid commitment to bringing the project to fruition, of staying true to the story no matter how bizarre. Life is, indeed, often stranger than fiction. If these two ever do another project together, I want to be part of it in some small way, even if it's paying their grocery bill.

Some of the best documentaries are made almost by chance, where a bunch of unwary filmmakers stumble across a fantastic narrative unfolding. Overnight falls into this camp. Most likely when they started filming Montana and Smith weren't planning on anything but a glowing biopic on their friend's rise to fame, hopefully elevating them along with it.

What they got instead was a compelling film about a man who was handed his dream and lost it because of ego and hubris. There are times when Overnight is just uncomfortable to watch, as Troy Duffy alienates everyone around him and becomes more and more reliant on his vastly overrated sense of his own talent. At first he's almost sympathetic, being screwed over by the Hollywood system, but this only seems to aggravate his bitterness and aggression.

Stylistically speaking Overnight isn't the best movie: Duffy's descent perhaps starts too soon, leaving us to spend most of the film in the valley of desperation, and at times it can get hard to tell all of the badly-dressed white guys apart. But it's a compelling narrative despite everything else, and the perfect film to watch if you want to see an almost Shakesperean self-destruction.