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83A pulsating snapshot of America caught in a mad, liberating identity crisis.
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75The agony of invention is there on the screen.
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75The story is a mess, as usual with Toback's movies, but intricacies of contemporary urban culture are vividly illuminated by his insistence on blurring the boundaries between fiction and reality.
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75Toback presents specific characters dealing with specific problems and, through their stories, somehow manages to take the temperature of the times.
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70Immediately disarming for its candor, verve, and sheer nerve.
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70Gleefully pushes everyone's buttons...and that manages to exploit our own racial discomfort and envy in ways that leave us hungry for more.
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67Fascinating, perplexing, amusing, and irascible.
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60A sui generis excursion into sex and race that is by turns terrible...and close to divine.
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60This lively mess proves that when Toback loses his head, he does it with style.
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60Works best as a free-flowing essay.
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60It's another of Mr. Toback's quick-talking autobiographies that, like the best pop, have a clock running on their expiration dates.
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60Maverick moviemaker James Toback has latched on to the most fascinating cultural phenomenon of the American moment.
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57An audacious but underconceived blend of fiction and documentary that questions the idea of race and identity in America.
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50There's something deeper at play in the film, something psychologically foul, voyeuristic and personal.
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50At heart a cliché-strewn melodrama about a bunch of white, upper-class Manhattan kids who aspire to ghetto culture.
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42Too often monochromatic, programmatic and just plain lost.
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40Strident and bombastic.
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40Toback's method of presenting the evidence without judgment backfires, finally appearing just as shapeless as the movie's structure.
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40The movie is such a mess that it seems to have been assembled from pieces randomly picked from the cutting-room floor.
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40When your characters are only skin deep, so is your message.
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38Sometimes laughably incoherent.
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30The voyeuristic indulgences of a middle-aged filmmaker playing out his most deep-seated and unresolved sexual fantasies and anxieties.
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25There is really no one to like in this film.
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25Ideological disaster!
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20Peaks with its opening scene.
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20An extravagant mess.
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When worlds collide - people yawn.
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