Like its star Joseph Park, the cyber-entrepreneur behind e-delivery service kozmo.com, the Internet-startup documentary e-dreams seems to take place in two separate, only tangentially connected universes. In the first, an era is rapidly approaching when all the old rules regarding business, supply and demand, and the patience of venture capitalists will be thrown out the window, and the world will belong to the brash twentysomethings who will make dot-com millionaires out of everyone. In the second, less utopian universe, the economy can't sustain unrealistic business models indefinitely, and venture capitalists have only a limited amount of patience for dreamers who bleed money and offer vague promises of eventual profitability. Park, unsurprisingly, prefers to live in the former universe, and for the first hour or so of e-dreams, it seems that everyone wants to join him, from his army of flunkies and admirers to the filmmakers themselves. "We're rock stars!" a drunken Park shouts during a key moment in the film, and, frustratingly, the movie seems to buy into his not particularly tongue-in-cheek pronouncement, even as his pride, arrogance, and overbearing manner help hasten his company's fall. Shot on low-budget digital video, e-dreams follows Park from the giddy highs of the Internet startup craze—the film's working title was Start Up!—through his inevitable fall, as irrational optimism gives way to doom-saying and almost equally irrational pessimism. Even when kozmo.com's looming failure becomes apparent, Park refuses to be humbled or accept blame for his frequent missteps, instead blaming the company's problems on the market, the board of directors, and just about everybody but himself. Director Wonsuk Chin goes out of his way to depict Park in sympathetic terms, even hauling out his immigrant parents and an intrusive, often sentimental score, but his efforts only undermine the film's credibility. The story told by e-dreams is inherently compelling, full of dark humor drawn from a deep well of hubris and historical irony, but the film would be a lot sharper had the filmmakers not fallen under Park's charismatic cyber-spell.