Onlinewsma Absolutely Brilliant!

CrawlerChunky In truth, there is barely enough story here to make a film.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

andreygrachev A young man is going around provincial USA searching for his mother that he never saw. As soon as he was born his young and careless parents sent him to mental hospital. Now Gary Oldman is free to go so he decides to find his mother, the one he was missing all those mental hospital days. His mother Linda (Theresa Russell) lives in American dream but doesn't seem to be happy. Her husband is fond of collecting railways for children. Sure, he has one of the largest railway-toy system in the whole state. He is proud of his railway model and pays more attention to his railway-world than to his young wife. Who used to have some nasty experiences before became a noble woman. But all that world is just smashed by the coming of that crazy son, who wants the revenge for such unhappy childhood. Finally Mummy lets her successful husband to meet her naughty son. Great, rather cynic, cold black humour film. www.myspace.com/neizvestnostlab

ShootingShark Linda is a bored housewife whose husband shows no interest in her. She wants a child and is haunted by the memory of the baby she was forced to give up from a teenage pregnancy. But when a strange young man named Martin suddenly appears, claiming to be her long lost son, is he who he seems to be, or is she starting to lose her mind ?I really like movies about the strangeness of the mother-son relationship (Psycho, The Manchurian Candidate) and this, from the pen of the brilliantly perverse Dennis Potter, is possibly the strangest. Its clever touch is in never explaining the Oldman character; he probably only exists in Russell's head, but equally he might be real, or he might be just a calculating psychopath (Potter used the same idea in Brimstone And Treacle, where the character is also called Martin). But as a metaphor for both Oedipal repression and the desire not to grow up (slyly mirrored in Lloyd's obsession with toy trains), he is endlessly fascinating and Oldman's histrionic performance is sensational. Russell too is amazing, in an impossible part, playing the whole movie with her eyebrows lowered quizzically, and the sexual tension between her and Oldman is incredible. Purists may claim their ages are wrong - he's too old and she's too young - but they are perfect casting, and Lloyd and Bernhard provide great wacky support, almost as if they are in a separate movie of their own. I love all the witty maternal references in this movie; it starts with John Lennon's song Mother (he was raised mostly by an aunt), the trucker's tattoos, at one point Oldman mashes a knife into an egg and at another he plays the old traditional song M-O-T-H-E-R on the piano, the clips from the erotically-charged Cape Fear on TV, etc. Beautifully shot by Alex Thomson throughout, with all sorts of clever visual tricks to keep us guessing at the characters' mental states. Produced by Rick McCallum (of Star Wars fame), funded by George Harrison's Handmade Films and shot at the DeLaurentiis Entertainment Group studios in North Carolina. This is a great primal scream of a movie, in equal parts bamboozling, funny and thought-provoking, with one-of-a-kind performances; a film for all mothers and sons to see, although probably best not together. This was the fourth of Roeg's six intriguing movies with his former wife Russell, and for my money their best one together (although they both made better films separately).

vancuren Nicholas Roeg's "Track 29", while confusing and frustrating, appears to accomplish what the director and writer set out to do. The film introduces and examines many aspects of Linda's life that are never very clearly answered. If Martin is a figment of her imagination, what is truly imagined? He does appear at the hamburger stand, so is he real after all? Early in the film, a television program is overheard discussing the idea that "two things may ocupy the same time and space". If this is indeed true, than maybe one thing can ocupy more than one time and space. It appears that Linda and Martin may in fact be "exploring" alternate dimensions. The film seems to explore the occurrence and outcome of many different events, and ends with the viewer unclear about what truly happened and what did not. After undergoing real or imaginary emotional torture, Linda calmly collects herself and leaves the house a new woman. To further confuse the lines between imaginary/real, her husband is heard calling to her, even though a pool of blood is forming over her head. (presumably from the stabbing death of the same husband) It is through these very strange events and ideas that the director and writer force the viewer to attempt to decide what is real and what is imagined. The most frustrating thing of all is that there is no real answer to this question.

QwikBall Nowhere else is Roeg's filmmaking as elemental and visceral as it is in Track. Black comedy is an inadequate label, for certain. "Models" and their uses and abuses are examined in the film. It is almost as gut wrenching to watch Christopher Llyod being spanked by Sandra Bernhardt as it is to watch Ricky and his mother in <Better Off Dead>. Oldman lends his untamed (yet not quite perfected) style to a film that would be richly sleek even without him.