This all seemed pretty real to me. Two especially strong female performances, each character burdened and flawed, existing in their tiny worlds. There is no premeditation, just a run of banal events building up to point the bubble bursts. Only one of them was ever gonna make it out alive.
The score is by Robert Pollard, from the Ohio band Guided by Voices (Pollard's from Dayton). I've driven across the bridge from Wheeling, WV into OH many times, often with GBV as the score. Soderbergh's spoken in the past about being a fan of Pollard's. It was such a thrill to see this film and have the music function with the landscape as it has so many times in my own life.
Casting was great, score was terrible. Soderbergh successfully captured an image of small-town middle America, injecting in it equal parts voyeurism and tenderness which made for what was, in my opinion, a great film. Unfortunately the score seemed alien to the world Soderbergh created, and was a distraction where it could have added more depth and humility.
This film would have been so much better with a score that actually shared the same wavelength as the film. The dead images and ultrarealism set such a magnificent tone of desperation. If I could ask Soderbergh one thing, it would be: why did you choose to use such an obnoxious score that forces the audience out of the story? The music is in the characters and the death of the image.