Spoilers herein.
Two men, one running from death, the other advancing toward it. The meet and exchange roles.
Two powerful, explosive actors (Nicholson and Huston) and two controlled, technical actors (Morse and Wright Penn). Two off-screen relationships both stressed and introspective: one goes forward (Sean and Robin), one does not (Jack and Angelica). Two dancers: one has a child at home; one is a child -- both seek fathers.
Sex and love; awakening and alcoholism -- but these are old. Jewelry put on and clothes taken off. Literal and virtual prisons. Buses and boats. Robin and Verna as dancers. Slow motion in vision and slow awakenings.
In the Egoyan tradition of character-driven symmetries. This is worth watching if only because Penn understands how to place talented actors in motion in folded spaces. All else is irrelevant in this case.
Two men, one running from death, the other advancing toward it. The meet and exchange roles.
Two powerful, explosive actors (Nicholson and Huston) and two controlled, technical actors (Morse and Wright Penn). Two off-screen relationships both stressed and introspective: one goes forward (Sean and Robin), one does not (Jack and Angelica). Two dancers: one has a child at home; one is a child -- both seek fathers.
Sex and love; awakening and alcoholism -- but these are old. Jewelry put on and clothes taken off. Literal and virtual prisons. Buses and boats. Robin and Verna as dancers. Slow motion in vision and slow awakenings.
In the Egoyan tradition of character-driven symmetries. This is worth watching if only because Penn understands how to place talented actors in motion in folded spaces. All else is irrelevant in this case.