Throughout, the filmmakers remain as lovestruck by the story as its characters are with each other.
Perpetual paranoiac Woody Allen seems unusually distracted from his own mortality lately.
Sending up Jack Nicholson’s real-life penchant for dating younger women, the film benefits greatly from his rascally screen presence.
Identity is very pleased with its supposedly clever but completely nonsensical ending.
Sadists, masochists, wife beaters, and child abusers of the world rejoice.
Few films of this kind boast such an edgy, luxuriant sound design.
The film is an obnoxious coming-of-age saga whose ironic characters may as well be rejects from Andy Warhol’s Factory.
By film’s end, Changing Lanes questions the effects of individual morality on a collective consciousness.
If you squint just right, you might swear your watching A General’s Daughter, Double Jeopardy, or Kiss the Girls.