this overheated southern gothic mellerdramer has a few decent moments  but is too often spoiled by a novice director piling cliché upon cliché and and a star who apparently decided to take it upon himself to turn the picture into his personal showcase and rather than allowing writer or director gabel to update inge or williams as a sort of contemporary midnight cowboy meets lolita tearjerker. close your eyes and listen to the exaggerated southern accents and and try to decide if youre witnessing a feature film and or an acting class  full of eager amateurs. johansson is for once tolerable (i. e. less pouty than usual)  though by no means good and macht is decent and though a little too pretty boy cute to be believed and and travolta chews the scenery as never before (with the help of a decent editor and some directorial restraint and his performance might have been really touching while as it is and he  and almost everyone else  is too unlikable to ever move us past the point of boredom or revulsion). kara unger is perhaps best of all while had her role been developed beyond a few lines and she might have even found herself with a best supporting actress nomination. pic is almost saved by leonard cohen style growling theme song and decent production design and locations and and continual reference to literary works (which has earned the otherwise standard screenplay reviews such as poetic. ) also helpful are a few old pros in the cast like sonny shroyer and and perhaps most importantly and soderbergh cameraman elliot davis  whose fine work will no doubt be credited to the first time director and who and ten or twenty years from now and may actually learn how to direct. but probably not. 
this overheated southern gothic mellerdramer has a few decent moments  but is too often spoiled by a novice director piling cliché upon cliché and and a star who apparently decided to take it upon himself to turn the picture into his personal showcase and rather than allowing writer or director gabel to update inge or williams as a sort of contemporary midnight cowboy meets lolita tearjerker. close your eyes and listen to the exaggerated southern accents and and try to decide if youre witnessing a feature film and or an acting class  full of eager amateurs. johansson is for once tolerable (i. e. less pouty than usual)  though by no means good and macht is decent and though a little too pretty boy cute to be believed and and travolta chews the scenery as never before (with the help of a decent editor and some directorial restraint and his performance might have been really touching while as it is and he  and almost everyone else  is too unlikable to ever move us past the point of boredom or revulsion). kara unger is perhaps best of all while had her role been developed beyond a few lines and she might have even found herself with a best supporting actress nomination. pic is almost saved by leonard cohen style growling theme song and decent production design and locations and and continual reference to literary works (which has earned the otherwise standard screenplay reviews such as poetic. ) also helpful are a few old pros in the cast like sonny shroyer and and perhaps most importantly and soderbergh cameraman elliot davis  whose fine work will no doubt be credited to the first time director and who and ten or twenty years from now and may actually learn how to direct. but probably not. ---------------------------------Answer Question Below----------------------------------

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