Overnight (2003) User Reviews

Essential if you like seeing fat jerks get their faces pushed in the mud

[bob_meg · 8/10 · 14 November 2010]

As you live your day to day life, chances are you say to yourself over and over "Why can't so-and-so get what they deserve and most importantly, why can't I BE there when they get it?" Well, Brian Smith and Tony Montana are here to make your day with "Overnight," the doc they shot over a 3-year time span, chronicling their horrendous ride alongside Troy Duffy, the man who cursed us with the derivative and pointless "Boondock Saints." To say Duffy is an unlikable person is a tremendous understatement, but, a**hole or not, "Overnight" shares an important message that applies to all of us, whether we find ourselves in a pi**ing match with Harvey Weinstein or not: you just don't crap where you live.

That Duffy had no idea of Weinstein's pull or cache in the business is all the proof you need that he's borderline retarded. But "Overnight" wastes no chance to show you, in vivid detail, what a boring, arrogant smug POS he is, to boot. And yes, Smith and Montana obviously have an agenda here. As you watch the film, it's obvious why they want to pay him back. That might really sway my opinion under other circumstances, but who can really blame them in this case?

As a doc, "Overnight" is competently made. It won't blow your doors off with any real insights, innovative camera work or notable framing devices, but it's ability to get Duffy on camera, blowing his stack at film students, executives, agents, band members, and friends (ha ha) for no apparent reason other than to flex his own sagging muscle, is almost worth the price of admission. It's akin to getting your worst enemy on film doing all the evil stuff they normally do, only now you can prove it, and the gratification shines through.

The ending is priceless, the quote by Goldman is wonderful, and the freeze-frame of the dive shot...perfect.

90 minutes in the company of a completely horrible person

[dbborroughs · 7/10 · 10 August 2005]

I want to say at the outset that this is a great documentary. Its much better than the 7 I gave it, but I had to knock it down a few because its subject matter, Troy Duffy, is so incredibly unpleasant I never want to see him again.

This is the story of Troy Duffy a man who managed to become the hottest guy in Hollywood for all of six minutes before it all went away and left him with nothing thanks to his own wonderful personality.

The documentary, made by two ex-friends, takes him from the first glory days as Troy signs with Miramax to have his script produced with him directing, with perks and it follows as it all unravels at lightning speed and he's left with...nothing.

The footage, shot by "friends" with unimagined access, shows Troy as he tries to get his movie made while his ego explodes. Troy can't shut up, or if he can he doesn't know when to. He is one of the most foul mouthed people I've ever seen with even the simplest of sentences peppered with four or five f-words. At first he seems ballsy and no nonsense but rapidly he becomes drunk, gruff and unpleasant with his tell it like it is (or how he feels) attitude becoming a bludgeon to everyone around him. Many friends fall away. The film makers, who were friends, apparently admitted that on some level the film is skewed by their dislike for Duffy, but seeing as there is so much footage of Duffy in action, the amount of film/tape showing him in a good light has to be infinitely small. He's an ill mannered jerk, whom even his brothers seem to think will screw up. And screw up he does as the film goes into "turn around" and he's forced to come up with Plan B as his money and "power" begins to drop away. I don't want to say more since what happens is the movie.

Its a brutal, ugly, unpleasant and uncomfortable story. Its 90 minutes with a jerk and its compellingly watchable (only once since he's too hateful to experience more than that). Troy Duffy will forever be the yardstick by which Hollywood jerks are measured.

A blueprint for how NOT to succeed in show business

[NateW · 8/10 · 25 December 2008]

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.

A Hollywood story with a happy ending

[Ricky_Roma__ · 17 June 2008]

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?

Good Movie

[juanathan · 7/10 · 15 July 2005]

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!

Troy Duffy's a massive turd...

[JamieArbuckle · 7/10 · 13 February 2008]

It was very satisfying for me, as somebody who has worked in the film industry for 20 years (behind the camera) and have been unfortunate enough to have spent time around massive s**t-stains like Troy Duffy (though not to this ridiculous extreme), to see a stupid, alcoholic f**k-o c**t like him get dragged under the wheels of the Hollywood machine. He doesn't deserve a second glance from anybody; his eternal punishment will be getting cast into utter obscurity because that seems to be what he's afraid of most. If it wasn't for "Overnight", he'd be assured of it. Now he will be remembered as a classic Hollywood joke. I had to restrain myself from punching my TV set whenever that douche-bag's face appeared on my screen. He wouldn't cut it as head of craft service on a real film set before he had his f***ing teeth knocked out, talking that s**t. I'm surprised his band mates/friends didn't beat his ugly ass. It actually makes me think they kind of deserved to have an dead albatross like Duffy hanging around their neck.

The Car Crash You Can't Turn Away From

[Mr Parker · 7/10 · 12 February 2008]

Wow.

It's stunning to see how success or more accurately, potential success, can turn someone into even more of a buffoon than they may already be. This documentary revolving around the explosive rise and equally explosive fall of director Troy Duffy ("Boondock Saints") who hit it big with the sale of the Boondock Saints screenplay to Miramax is easily one of the most stomach turning examples of vanity eating its host and rearing its head like some karmic Godzilla. It's really disgusting to see Duffy literally squander the opportunities that came his way, opportunities that many on this planet don't even come close to breathing on as they drive past. This fool had the kind of deal you read about in a fantasy story where devils are involved, except this guy didn't have to trade in his soul. I've met this kind of guy in film school, the type that believe that they're more creative than anyone else around them and it's just as enjoyable to watch this guy crash and burn just as it was with the big-talkers and egomaniacs back at school.

Though the question remains as to whether or not this was really just a big smear piece by the film's co-directors (I mean let's face it, it's not entirely out of the realm of possibility when you take into considering the verbal lashings and mental abuse administered to them by Mr. Duffy himself), the fact that Troy Duffy is nothing but a complete jackass still lays bare for you on the screen for you to stare at in wonder. No matter how this film may have been cut, no matter what may have been left out as opposed to what was left in, the fact remains that Duffy sank his own ship with his caustic persona and idiotic decisions and didn't even bother to get out the life preservers for him or his crew. This was a very enjoyable and well done documentary even though it was kind of tough to watch in a way. It's a perfect cautionary tale for filmmakers and artists alike.

RATING: ***1/2 out of *****.

P.S. And in the end, Boondock Saints wasn't even worth all the fuss.

Like being caught in the middle of a very bad argument...

[Aussie Stud · 9/10 · 19 June 2004]

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

Ha-Ha

[JoeytheBrit · 6/10 · 18 September 2007]

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.

whew! (minor spoilers)

[littlemes · 9/10 · 13 December 2004]

1997. Miramax, scooping up Oscars and looking for the next big thing, seemingly found it in a small bar in West Hollywood, J. Sloan's. Pouring and knocking back drinks there is Troy Duffy, a blue-collar joe from back East who came out to LA to knock doors down in the music and film industry.

And does he ever- his simultaneous ascension in film and music are the stuff of the latest legend; Miramax and New Line have a bidding war over the rights to his 'Pulp Fiction with soul' Irish vigilante story, THE BOONDOCK SAINTS.

Miramax's Harvey Weinstein looks to seal the deal with a monstrous payday, giving Duffy his first shot at directing, hiring his band to do the soundtrack, and even planning to buy the bar they work in for them to seal the deal. We can't believe his good fortune, nor can we believe what happens as Duffy starts throwing weight around he hasn't earned yet and burning bridges the moment he begins to cross them.

Mark Brian Smith and Tony Montana's documentary OVERNIGHT is the chronicle of Troy's rise and fall, taking his working-class Rat Pack (dubbed The Brood Syndicate) with him. The group consisted of Duffy, his brother Taylor and the rest of the band, and several others (including the documentarians). Duffy has energy, cajones, attitude and drive to spare and the filmmakers were there from day one to capture whatever he threw their way.

And there's apparently a lot of it, beginning with vows of shared riches and boasts of complete Hollywood domination, chased with enough booze to knock a mountain off its barstool. Eventually the only thing getting thrown are constant insults, threats, and promises which go up in smoke as Miramax puts the film into turnaround and stops taking Duffy's calls.

Troy strings the exasperated band members along as well as the filmmakers, who end up getting shut out of profits and hanging on endlessly for what they hope will be the pot of gold they've been told is just around the corner. The film eventually goes into production through indie financiers on a fraction of the original budget, making a boisterous premiere at Cannes only to be ignored by studio buyers. Eventually it gets a token release and is dumped to DVD. The band finally gets their deal and puts their first album out there..and manages to sell less than 1000 copies, quickly vanishing.

You know that feeling when you're stuck in a room during a biting argument and you freeze and just let it sink in? Overnight puts you in this spotlight often but is never less than fascinating. Though the film's incredibly well-structured and involving, and generates the requisite watching-a-car-wreck thrill, you'd be rooting for ANYONE'S downfall after screening select footage of them being a complete asshole for 80 minutes. I'm sure it isn't a complete smear job, but it's a bit too insular to be objective..the filmmakers are obviously not friends with this guy anymore; but given what we are shown on screen it's hard to come away on Duffy's side.

Who knows with these things what gets taken out to support a directorial agenda, but taken on its own, it's riveting to watch, and Duffy isn't doing himself any favors with scenes of tearing his new agents a new one on the phone, reneging on his financial promises to the filmmakers as they're losing their apartments, and putting down Boston film students who call him on his sour take on what's happened to him.

The final moments are squirm-inducing as we see how everyone ends up, particularly footage of the worn-down band members now living their dreams of manual labor, catering, supermarket checkout, etc.

It's not quite the rags to riches to rags story one goes in expecting, particularly if you're familiar with all of the outcome-Boondock Saints has grown a huge cult following since its release, which isn't mentioned-though Duffy has yet to work since then. Still it's a knockout cautionary tale, and a hell of a lesson in the benefits of occasional humility. And above all, if Harvey Weinstein hands you the keys to the kingdom, don't call him unprintable names on camera.

Really good documentary let down by one main element

[shes_dead · 7/10 · 25 August 2005]

This is a great documentary about the thing that all us bitter humans love to see most of all...failure! This is a fantastic failure story. It couldn't be anymore perfect. A loser named Troy Duffy writes what becomes a mega-sought-after script. Harvey Weinstein not only bought the script from Duffy but, amazingly, agreed to let Duffy direct (which he'd never done before) AND let Duffy's band do the soundtrack. No matter how repulsive you think Duffy is, you gotta give him respect for striking that deal in the first place. Incredible.

The rise of Duffy is incredibly quick, well overnight actually, one minute he's bouncing at a bar, the next thing he owns the bar and is schmoozing 'top' Hollywood actors like Zane, Swayze, Modine, Busy, Goodman...and they all appear to be kissing his ass.

By the way, don't get excited about all the big names, most of them are only on screen for a split second in some grainy, dark, home video-style footage shot from a distance.

This documentary gives an enlightening insight into pre-production for movies and puts these aforementioned actors in very normal situations (a BBQ, a bar) and makes them seem like, well, really cheap, desperate people who hang around 'the next big thing' like a bad smell. What this doc also does brilliantly is show us how easily someone can be dropped by Hollywood. Duffy goes from front-page news to non-employable in about 6 months. Amazing to see how fickle and spineless and sycophantic the stars are. They're your best friend when you're great, but they turn their back when you're no longer needed. That's not to say Duffy is any better, but is he any worse? Don't all the people in this movie deserve our pity as much as Duffy?

And this is where the documentary fails.... Before seeing this film I read it was about some guy who got a great break in Hollywood but then screws it up with his attitude and no one wants him. And this is supposedly what the doc is about.

However, I felt unsatisfied with the reasons behind Miramax dropping Duffy. The reasons are unclear. Yes, he's an idiot, but only when he's drunk. He's not the brightest of sparks but when he's sober he appears quite determined and driven, if a little off course. But not so offensive that no-one in the whole of Hollywood wants anything to do with him. The documentary never gives the reason for Duffy being dropped, only conjecture, supplied by a now paranoid Duffy himself anyway. So the whole entire point of this doc - Duffy's downfall - is made obscure.

The opportunity he had didn't go to his head as much as I was expecting. In fact, I felt he took a lot of the bad news quite well. I mean, lets look at what this guy was offered and imagine yourself in his shoes: One day a very powerful man in Hollywood called Harvey Weinstein offers to make a film from a script you wrote. Point 1. You're very, very pleased. You're on a high. You think you can retire. This is what you always dreamed about. That goal you set yourself as a kid? You reached it. Then he says you can direct. Point 2. It just gets better. You're self-confidence explodes, you think you're invincible. This is the best time of your life. You're in Hollywood and everybody knows your name. Point 3. He agrees to let your band, that you've tried to succeed with for years, produce the soundtrack for the movie. You're a hit, everybody loves you, all your worries are over.

Then, BAM! You're nobody. No one wants to know your name, no one wants to speak to you. But you don't know why.

Well, ladies and gentlemen, how would you feel? Frustrated? Angry? Upset? Duffy goes through all these emotions and treats some people badly. But we never see him treat Weinstein or any Hollywood execs badly (until after he is dropped), he just gets fired and we don't know why because the doc doesn't explain enough.

If anything, Weinstein is the bad guy here. It's like he was playing God. He takes the life of a nobody, gives him everything he ever wanted, then takes it all away. Go figure. The ending is satisfying because everyone of the group of friends that went with Duffy is in a dead end job. I can't explain why we love to see people do badly. Amazingly though, Duffy's back in production with Boondock 2.

glimpse into the dark side of Hollywood

[philthephilmmaker · 9/10 · 11 November 2004]

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.

Troy Duffy, an overnight success gone wrong.

[IRateFilms · 6/10 · 22 September 2006]

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.

Fevered Egos

[Ali_John_Catterall · 5/10 · 3 December 2009]

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.

Could have had more insight and comment generally but Duffy's unfounded arrogance is fascinating and totally destructive

[bob the moo · 24 August 2006]

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.

This is not child's play

[jimpowellsf · 6/10 · 21 March 2008]

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.

So Sad

[cernachc · 6/10 · 20 March 2007]

The behind the scenes of Troy Duffy's life is so sad. It reminds me of thousands of men trying to 'make it' in Hollywood. I don't doubt that given the same opportunities their experience would be any different. The quote at the end of the picture is so true it's frightening. The filmmakers did an amazing job of capturing all the moments of their friend's rise and fall. I can't imagine welding a camera in more than half of those situations. Really intense stuff. The main problem I have with the film is that the one question that Troy's and all these guy's lives revolved around, is not answered. Why did Miramax drop the project? Just because? Maybe I missed it. I would have also appreciated a little deeper analysis of Troy's writing and the message of 'his' band. Also, I don't think the filmmakers dig deep enough into the psyche of their subject and friend. At one point Troy even asks the filmmaker and his friend what he thinks of the movie then the film cuts to him sharing his negative opinion away from Troy. At times it almost seems as if they did nothing to stop their friend's fall. All this aside, I think the film is a really valuable piece for anyone working or interested in Hollywood.

Fascinating documentary #minor spoiler#

[maxwellsmart · 9/10 · 19 July 2005]

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.

The blame game

[notbono · 7/10 · 8 October 2006]

People love a good failure, especially when it's the result of an arrogant, uncompromising personality like Duffy's.

The thing is, having a career in Hollywood is a game of suck up, which pretty much precludes someone like Troy Duffy being a success, despite his obvious talent in writing and directing.

So did Duffy get what he deserved? If you think so, then you also get what you deserve, next time you have to sit through some lame Hollywood adaptation of what was once an edgy or original movie or book.

Duffy's opinion on that count? "Jerry Bruckheimer! *derisive snort* Con Air! *laughs*" (Well, something like that anyway.)

Many here have mentioned that there is no explanation of what Duffy did to sour the deal with Miramax. The obvious reason is that Miramax gave no explanation. They just screwed Duffy out of the deal without any discussion or give and take. They did it in such a way that even when he did get the film made, it didn't get the distribution it deserved. There is absolutely no way to fight back against this system, once you've been blackballed.

The filmmakers make no comment on this, seeming to place all the blame on Duffy's personality. Gosh, they couldn't be biased on this, could they? Maybe a little too close to be objective?

At the end of the film there's a short interview with a reporter who talks about meeting Harvey Weinstein, who says "Was I right about that guy, or what?"

Well actually, since Troy Duffy successfully directed an above average Hollywood thriller without Miramax, I would have to respond, "Nope, you got it wrong this time." The proof is in the pudding.

All good things come to those who wait

[captstacey · 9/10 · 4 August 2005]

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

"It may be that your only purpose in life is to serve as a warning to others"

[PlugInYourBrain · 8/10 · 16 August 2012]

"Overnight" has been described as the true-life story of a ballsy blue-collar independent film maker taking on a millionaire movie mogul tyrant. Guess which one you end up rooting for?

Troy Duffy was a bartender with no movie experience. He'd never before written a script or even made a short. One day the millionaire head of Miramax Studios, Harvey Weinstein, strolls into Duffy's bar, buys a script off him and offers him $15M to direct the movie with his own choice of cast. "Overnight" Duffy was touted as the new Tarantinto. Stars flock to get drunk and hang out with him, hoping to get a part in the next "Pulp Fiction."

Duffy asked friends Tony Montana and Mark Smith to document his rise to fame with a video camera. What they captured was arrogance the likes of which we've before seen on camera. If "Overnight" was fiction it would be dismissed as too over-the-top to be believable.

"Overnight" does however have flaws, in that there are many unanswered questions: Why did Harvey Weinstein sign an unknown quantity like Duffy? Why did Miramax suddenly drop him? Why do Harvey Weinstein and the actors never tell their side of the story?

Montana and Smith have answered these questions in interviews, but they really should have included them in the documentary:

In Hollywood just because a studio buys your script doesn't mean it's going to be become a movie. Sometimes they buy a script to stop another studio from getting it. Sometimes they buy on name alone. "Boondock Saints" is a great name, and some claim Weinstein hadn't even read the script when he bought it.

It also depends on whether any big name actors show interest. Miramax sent their A-list star Ewan McGregor to meet Duffy in the hope they would hit it off and pair up. Instead McGregor returned disillusioned by Duffy's arrogance, drunkenness and inexperience. Although the documentary glosses over this, it was the turning point and from here it was all over: On top of Duffy's personal attacks, the questionable quality of the script and Miramax's own finances it was then Weinstein decided it was time to bail. Rather than being blacklisted, it seems no one wanted to work with him. But "Overnight" stays well away from this and leaves us scratching our heads. If anything, it looks like Duffy is being discriminated against because the Hollywood elite won't work with a 'First Time Director'. It would have greatly benefited if they explained what actually happened in-film.

"Overnight" does go very easy on Weinstein. Montana and Smith were in no mood to pick a fight with him and gave him an advance screening to let him know they weren't attacking him. Perhaps having seen it he felt there was nothing he needed to add?

As for the actors we see almost nothing of, we assume they didn't sign releases to appear in the documentary. Actors aren't in the habit of criticizing their directors, no matter how deserved that criticism may be. Even Billy Connelly who has spoke about Duffy in public will only say the kindest of things. Montana and Smith said in interviews that the actors weren't impressed by Duffy's begging them to go out drinking with him, when their attitude was "Troy, we're trying to make a movie here." If they can tell us this in interviews, why couldn't they tell us this in the documentary?

Montana and Smith said they decided not to do a "Making Of" documentary, but go too far the other way. We never learn why, despite Duffy having no experience at all, in "Boondock" he was able to turn in a relatively polished film. Is he a natural talent, or did the film's financiers parachute in an experienced production team to run the production for him? The question is never asked nor answered.

Montana and Smith have been accused of being vindictive but given the way Duffy treats them on camera I think you can credit them with showing a lot of restraint. They said they left out many of Duffy's racist, sexist and homophobic rants. They also don't talk of Duffy's attempts to kill their documentary after his movie bombed at the box office and the record label dropped his band for poor sales.

We are told it is bad to take joy in the failure of others, but Duffy makes this difficult. It's not so much his arrogance, but his appalling treatment of everyone - especially his "friends", and that he never admitted how things turned out is his own damned fault.

The sad thing is that apart the film's financiers nobody did well out of the whole "Boondock" experience. Despite being known to Harvey Weinstein, Montana and Smith have been relegated to minor roles in the industry. Duffy's band never took off, and his actors never got their big break. Duffy himself couldn't land another job until he made "Boondock Saints II" ten years later. The sequel made a bit of money off the name, but reaffirmed that Duffy has no real talent. No good came of this, except as a morality play for the rest of us.

There are many Troy Duffys in the world, but few of them are willing to show it on-camera. When Donald Trump does it you know he's hamming it up, but with Troy Duffy you get the real deal. For this rawness and despite its flaws "Overnight" makes compelling viewing. (If Montana and Smith decide to re-release this documentary with the missing material, I'll give them another two stars.)

Don't waste your time-do see Boondock Saints

[cwhyel · 5/10 · 1 July 2005]

I can see how the filmmakers were compelled by Mr. Duffy's world-class arrogance and how it served as his undoing.

Most people, had they not been blessed with all his unbelievable luck, would get regularly beaten to within an inch of their live for such chronic pompousness, arrogance, belligerence, and malevolence as well as excessive drunkenness.

Where I believe the documentary is not worth watching is in that the center of attention, Mr. Duffy, in burning every bridge he crosses, seems to be without remorse, humility or any cognitive reasoning as to the vanishing whereabouts as to his new luck.

I did see Boondock Saints, years before I saw this debacle. I could not muster once ounce of sympathy for Duffy or his hangers-on. They got what they deserved.

However, in comparing this with Boondock Saints, I find it a tragedy of almost Aristotlean proportions that Duffy likely killed any chance of a career in motion pictures. For that matter, he made getting any sort of job very difficult.

I should point out that some time has passed since the last of the raw footage was filmed. Hopefully in the interim, Mr. Duffy has learned a thing or two about learning how to work and play well with others.

The documentarians picked a compelling but repulsive subject matter. The controversy alone should make this a successful rental.

Amazing test of endurance and will

[itzpeggy · 9 November 2004]

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.

Self-destruction in 80 minutes or less

[wandereramor · 8/10 · 29 January 2012]

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.