The comedy is sustained and the narrative well stringed together, the film just flows naturally with good dramatic sway. Hoffman is great (I am also a big fan of Garr in this film) and Pollack has a really good tonal control.
Mechanics of double-crossing. A very sharply written script, competently shot and well crafted, if a bit too manufactured - it has a readymade feeling that highlights its intentions, from the humor dynamics to the pastiche neo-noir tropes, rendering the entire project somewhat heartless and way too pleased with itself to entirely redeem it, despite the obvious pleasures of its surface.
one of the most diligent films ever made, a painstaking coming of age odyssey with an incredibly expansive symbology: everything here is absolutely essential, a boy whose back hurts because he needs to help his father by carrying milk, some brownish red pants, a gust of wind in the backyard, the windows' reflex on the walls... it's all very potent, these signs aren't there for mere narrative development, they address a much bigger spectrum where politics, economics and metaphysics collide.…
Cables, surveillance cameras and doorbells, chickens, cows and cats, apples and alcohol, women and empty spaces, mountains and oceans. An intimate portrait of a woman who meets a couple of friends to talk about youth, animals and marriage and later finds herself in a cinematic interlude where she meets two ghosts from her past and confronts the horizon in a movie theater. Is she still running or the colors of the ocean finally granted her stillness?
‘If he just repeats himself, how can that be sincere? That means it’s all from memory, but how can that be sincere?’