Never resorts to melodrama; doesn't contrive to tie all the sub-plots together in one shocking, "revelatory", hyperbolic impression point; doesn't contrive to resolve all sub-plots happily or to bring them to a definite end: rather, they all remain very true to life, some unresolved, some sad, some enviably well, and some ambigious, tortured, but hopeful, as with the cop and his wife. Complex, subtle, and well-drawn.
I feel like this film didn't get the attention it deserved. Of the films that interweave multiple story lines and character (i.e. *Magnolia*, *13 Conversations About One Thing*, *Traffic*, etc.), I thought this was one of the best.
Australia's prime contribution to the 'everyone is connected' genre is a locally lauded but fairly forgotten drama. The cast is excellent, the start is solid and it's generally free of the cringe that plagues our drama's which take themselves too seriously. The resolution is a little unsatisfying given the sympathy we're supposed to extend to a man like LaPalgia who still hasn't escaped his numbness in cinema.
Overrated for sure. Silly story: I mean seriously, why would an experienced psychiatrist get freaked out bby a gay client whose having an affair with a married man? I mean, wouldn't she have heard it all before, many times? And why is everybody being so mean to each other?
Over-hyped and dull. Why do filmmakers think they need to include a murder for a movie to be interesting?
Geoffrey Rush, usually wonderful, it wooden and Barbara Hershey is an unnecessary import who has had too many botox treatments!
I love Kerry Armstrong and Anthony La Paglia but again they haven't much to work with.
A sluggish film from a great Australian director.