I liked it pretty well.
You have to put yourself in mind that what you are watching is a sort of film noir, with a beat score ... jazz from the 50's. In this movie, director Figgis may be working out some of the themes he runs into in his everyday cinematic life. But what seems most to be going on is an exploration of the possibilities in each of us. The movie is rather existential, which perhaps fits with the beat mantra, the era from which, born in 1948, the director himself sprang.
Realize that you are watching an art film, but one that makes a little more sense than David Lynch's Mulholland Drive or some of Terence Malick's self-conscious work. I found the ending a bit silly, and I began to expect a different denouement, one that would have been darker, perhaps with a twist. But the movie doesn't really leave you hanging to work out your own ending quite as much as so many modern movies do, and which the main character, a screenwriter and part-time screen writing teacher, says is okay because "life doesn't have a pat ending," to paraphrase. The ending even had a little of the Casablanca about it ... boy, I'm really mixing homages here. This movie probably won't go down in the pantheon of greats like Casablanca, but it was a nice effort; sort of an indulgent one, as the attitude the screenwriter takes toward the up-and-coming generation seems to be. But the screenwriter hasn't lost his touch, may even be more attuned than those coming up behind. Plus, Sebastian Koch is pretty nice to look at.
You have to put yourself in mind that what you are watching is a sort of film noir, with a beat score ... jazz from the 50's. In this movie, director Figgis may be working out some of the themes he runs into in his everyday cinematic life. But what seems most to be going on is an exploration of the possibilities in each of us. The movie is rather existential, which perhaps fits with the beat mantra, the era from which, born in 1948, the director himself sprang.
Realize that you are watching an art film, but one that makes a little more sense than David Lynch's Mulholland Drive or some of Terence Malick's self-conscious work. I found the ending a bit silly, and I began to expect a different denouement, one that would have been darker, perhaps with a twist. But the movie doesn't really leave you hanging to work out your own ending quite as much as so many modern movies do, and which the main character, a screenwriter and part-time screen writing teacher, says is okay because "life doesn't have a pat ending," to paraphrase. The ending even had a little of the Casablanca about it ... boy, I'm really mixing homages here. This movie probably won't go down in the pantheon of greats like Casablanca, but it was a nice effort; sort of an indulgent one, as the attitude the screenwriter takes toward the up-and-coming generation seems to be. But the screenwriter hasn't lost his touch, may even be more attuned than those coming up behind. Plus, Sebastian Koch is pretty nice to look at.