The premise is so preposterous and shaky, it simply needs to be swept under the rug as soon as the film begins.
Da flirts with Shakespearean themes, King Lear and Hamlet being the main points of reference.
The film’s oddest creation is by far Patrick Swayze’s Johnny.
The film is immensely rich as an act of philosophical inquiry.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.
It is as modest and self-explanatory as its lower-case title suggests.
It strives for a handheld immediacy and raw emotional power that it only intermittently achieves.
Denis Côté’s images ostensibly detached, they somehow manage to be beautiful without ever becoming particularly pleasant to look at.