Cubussoli
Very very predictable, including the post credit scene !!!
ThiefHott
Too much of everything
Onlinewsma
Absolutely Brilliant!
gavin6942
May (Kim Basinger) is waiting for her boyfriend (Sam Shepard) in a run-down American motel, when an old flame turns up and threatens to undermine her efforts and drag her back into the life that she was running away from. The situation soon turns complicated.When a film is an expansion on a play, such as this is, you have to be true to the source while also going beyond. Altman succeeds, casting Harry Dean Stanton as a one-man Greek chorus and bringing a fuller vision to the story than could be shown within one room.Roger Ebert said that Altman "has succeeded on two levels that seem opposed to each other. He has made a melodrama, almost a soap opera, in which the characters achieve a kind of nobility." These are kin words and not without merit.
Michael Neumann
Sam Shepard's story of obsessive love in a lonely Texas trailer park may have been a fine stage drama, but transferring the play intact from the imaginary backdrop of a theater to an out-of-doors location only makes the stage dialogue sound pretentious and artificial. Good theater doesn't guarantee a good movie, and Robert Altman's attempts to open up the play using flashbacks and fluid camera work do little more than draw attention to its stage origins, with the director's trademark slow zooming and cross-cutting giving an entirely false impression of movement and meaning (dramatic moments, including a childhood secret revealed, are subsequently lost within all the visual calisthenics). The end result is an attractive but empty experience.
eisucks
After reading Fool For Love in a Drama class of mine, I was looking forward to seeing how Sam Shepard's wonderful play would be translated to the screen. Much to my dismay, it was nowhere near as entertaining as the play. The film seemed to drag, the music was inappropriate for the tone of the movie, and all the raw energy of the play seemed to have been sucked out of this film version. It's a shame to see this come out this way even with Shepard's involvement, playing the role of Eddie. Do yourselves a favor...see the play next time it's being performed in your area or simply read the book instead.
allyjack
(WARNING - CONTAINS MILD SPOILER) A movie almost designed to make you pause and check your recollection of it - it's confined to an almost empty motel where the huge courtyard resembles a circus ring and the rooms seem like temporary withdrawal points rather than refuges; as the characters become increasingly preoccupied by the past, the present increasingly falls away, until the ultimate incendiary appearance of the Countess in the black Mercedes marks the fusion of reality and fantasy. Whether or not their stories are true, and whether Stanton is truly the father or just a crazy old man stepping into their stories, seems impossible to determine. The theme seems to be how love of an extreme and unconsidered nature messes with stability to the point where reality itself breaks down; where exotic, misplaced fantasy becomes dangerously tangible. The image of the burning motel - a symbol of dislocation beset by destruction - is an appropriately weird ending for this strange but effective, startlingly imaginative, movie.
