The film occasionally and promisingly suggests an obsessive and free-associative paean to regret.
Throughout the film, Nicolas Cage holds the screen with his distinct timing and expressive force of being.
A compassionate, pragmatic anti-sentimentality, or an attempt at one, serves as the through line for his examination of one the most mythologized of all screen actors.
It confuses nostalgia for earth-shaking cultural upheaval, never really expounding on the actual effect of the Borscht Belt circuit’s influence.
I know Alex Ross Perry from the movies, from seeing him at repertory screenings in New York.
Someday this fascinating curio by a major European filmmaker will get its full due.
What does the distancing effect of Lewis’s humor have to do with its sense of trauma?
Like Hitchcock, Lewis’s freewheeling, exquisitely diverting films were often undercut by sinister elements and personal neuroses.