This is a smart film, told in a minor key, that augurs well for Whaley's directing career.
75
Boston GlobeJay Carr
Boston GlobeJay Carr
Whaley's self-effacing but strongly etched and wrenchingly effective film.
75
Portland OregonianDiana Abu-Jaber
Portland OregonianDiana Abu-Jaber
The atmosphere of the movie is dense and unrelieved; it's a heavy role for such a little boy, and some people won't want to watch such a bleak, monster world.
75
New York Daily NewsJami Bernard
New York Daily NewsJami Bernard
The movie isn't a day in the park, but it manages to close on an existentially uplifting note.
75
Chicago TribuneMichael Wilmington
Chicago TribuneMichael Wilmington
One of my favorite U.S. fiction features at 1999's Sundance Festival.
70
Chicago ReaderLisa Alspector
Chicago ReaderLisa Alspector
Deftly realist character study.
70
L.A. WeeklyF. X. Feeney
L.A. WeeklyF. X. Feeney
Whaley successfully balances his scenes on a knife-edge of tenderness and anger that was Truffaut's trademark.
A powerful little gem: a little bit of "The Outsiders" (the film's tone is remarkably similar to Coppola's film, minus the airy redemption and golden sunrises), a lot of "The 400 Blows," and a slice of "Radio Flyer" all wrapped up in a dirty black bow.
60
Village VoiceAmy Taubin
Village VoiceAmy Taubin
The film belongs to Fleiss, and he makes Joe's inner life so transparent that it's heartbreaking to watch the boy dig himself into a hole.