As far as capturing a bygone era, DINER is a superb piece of cinematic worldbuilding: the cars, clothes, music, and popular culture shown all scream of the 1950s without glamming up the period too much, as everything looks lived-in and ordinary. The acting is superb across the board with Mickey Rourke as the standout.
The story itself is nothing too special. It clearly wants to be like AMERICAN GRAFFITI, capturing a sense of lost innocence and Baby Boomer nostalgia, but I did not care for the characters at all. When it comes to characters in a story, they have to be at least one of two things: sympathetic or interesting. The folks peopling DINER are neither. Most of the stories don't add up to much either: I was most interested in Rourke's conflict with the mob and the dilemma of the young pregnant woman who wants to keep her job rather than become a housewife, but none of this goes anywhere.
Much has been made of the misogyny in the film, but I have to give the filmmakers the benefit of the doubt-- it's probably intentional since all these guys are self-absorbed, immature, and (with the exception of the Timothy Daly character) unable to see the women in their lives as anything other than add-ons to their own lives. None of this is portrayed as natural or good, though it is true that the women in the film don't receive much development... though again, neither do the male characters, hence my disinterest in the film as anything other than a technically competent exercise in nostalgia.
PS To be honest, the only scene where I laughed was during the hilarious butchering of "Blue Moon" at the wedding. That's it.
The story itself is nothing too special. It clearly wants to be like AMERICAN GRAFFITI, capturing a sense of lost innocence and Baby Boomer nostalgia, but I did not care for the characters at all. When it comes to characters in a story, they have to be at least one of two things: sympathetic or interesting. The folks peopling DINER are neither. Most of the stories don't add up to much either: I was most interested in Rourke's conflict with the mob and the dilemma of the young pregnant woman who wants to keep her job rather than become a housewife, but none of this goes anywhere.
Much has been made of the misogyny in the film, but I have to give the filmmakers the benefit of the doubt-- it's probably intentional since all these guys are self-absorbed, immature, and (with the exception of the Timothy Daly character) unable to see the women in their lives as anything other than add-ons to their own lives. None of this is portrayed as natural or good, though it is true that the women in the film don't receive much development... though again, neither do the male characters, hence my disinterest in the film as anything other than a technically competent exercise in nostalgia.
PS To be honest, the only scene where I laughed was during the hilarious butchering of "Blue Moon" at the wedding. That's it.