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Roger Dodger

Roger Swanson has always believed that he's as sharp as a tack in manipulating women. Unfortunately, the real world has proved it's wrong when he is kicked by his girlfriend, also his boss, a few day ago. In order to regain his reputation, Roger takes his new arrival nephew out on the town in search of sex.
Keywords:  #Campbell Scott #Dylan Kidd #Holedigger Films #Isabella Rossellini #Jesse Eisenberg #Roger Dodger LLC
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USA Today
December 05, 2002
Scott's low-key portrayal makes Roger interesting.
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Teletext
August 15, 2003
Kidd's story is a bitter pill to swallow - many will find the portrayal of Roger as some kind of hero bizarre.
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Antagony & Ecstasy
December 08, 2016
The performances are absolutely superb, and that's where the film wants to live.
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Orlando Sentinel
January 03, 2003
We journey from appreciating Roger as the ideal over-drinks conversationalist to someone we would cross the street to avoid.
UK Critic
September 07, 2003
The dialogue addresses our expectations, gets us laughing and stops the movie from becoming too obvious a character study.
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Slate
November 09, 2002
Even at its grimmest, the movie hums along, thanks to the edgy, hand-held, on-the-fly cinematography and the snappy performances.
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Looking Closer
December 06, 2004
Some have condemned this film for 'filthy content.' That's like condemning a hospital for being a place of disease. Kidd deals with 'filth' the way a surgeon treats a tumor.
Miami Herald
November 15, 2002
Doesn't really add up to much.
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Atlanta Journal-Constitution
November 15, 2002
Roger Dodger is an impressive first-time effort by Dylan Kidd, the director and writer. But like the teen in the movie who is trying to lose his virginity, the film never quite scores.
eFilmCritic.com
June 16, 2003
Blatantly arrogant, unapologetically misogynistic, morally repugnant, and absolutely hypnotic. All these descriptions and more can be applied to the character of Roger Swanson (Campbell Scott)
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TheMovieReport.com
January 27, 2009
Scott's hilariously hateful hauteur is able to counteract some falsely fuzzy notes in the ending.
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New York Magazine/Vulture
January 16, 2003
A fascinating, uneven first feature from the young writer-director Dylan Kidd.
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