Overnight

Remember back in 1997 when Troy Duffy signed that deal? You know! The deal with Miramax, personally overseen by head honcho Harvey Weinstein, that gave Duffy the go ahead to write and direct his first masterpiece The Boondock Saints. Not only that, but also giving him the opportunity to score the film with his own band The Brood, thus securing him a record deal in the process. And if that was not enough, Weinstein also promised to buy the bar where Duffy worked and pitched the Boondocks script to him, promising to co-manage with Duffy.

You don't remember?

You have not even heard of The Boondock Saints, let alone seen it?

Don't worry.

Overnight explains why this is the case, why Duffy's Cinderella story ended badly and why Duffy is to blame. While it is hard not to feel envious about how easily it all seemed for the self-proclaimed genius, it is just as hard not to feel a certain level of satisfaction as Duffy and his huge ego grow to new heights - or is that depths?

Is the film a simple case of revenge? Directed by two friends, members of Duffy's own so called Syndicate, who ended up on the wrong side of the clearly inexperienced and out-of-his depth writer/director.

What really sets the viewer to wonder and keep watching is why they stick with him as he lashes out at friends, family and nearly everyone involved with his film? I wondered myself, as I watched, if this was just a cleverly edited piece that might as well have been entitled Screw You Duffy.

Early on, when he poses for the cameras, you can clearly see a man who believes his own hype, a man not only in love with himself but with being written about, photographed and fawned over in all the right magazines. Too bad he did not have a clue about a moviemaker's most important quality, writing and directing film.

The most entertaining parts of this documentary are when Duffy's meltdown starts - meetings with important executives who look on in astonishment at the unshaven, hungover Duffy in his shabby dungarees; conference calls descend into shouting tirades against whoever has anything to say against the film, or Duffy himself.

Unfortunately, the viewer is left to do catch up. No context or background is given to some of the meetings, leaving the audience in the dark as to why there is so much shouting going on. Insiders may find it thrilling, but others will be wondering what exactly "pay or play" is and why it matters so much.

In the end, Overnight is more than just a case of character assassination. It also shows how the Hollywood machine seduces so many with promises of success but all too often leaves them broken, shattered and disillusioned. In this case, sympathy can be felt for Duffy.

Then he opens his mouth and you find yourself grateful that it went so wrong. Maybe he did get what he deserved and, at least, there is one less annoying celebrity out there.