Featured Audience Ratings

• Tim S

  
  Another head-scratch inducing film from the BBS library. I think I wrapped my head around it and it turns out it's just one of those weird plays you got dragged to in college trying to impress a hip girl you wanted to date. I felt nothing for Tuesday Weld and her plight which… More
  Another head-scratch inducing film from the BBS library. I think I wrapped my head around it and it turns out it's just one of those weird plays you got dragged to in college trying to impress a hip girl you wanted to date. I felt nothing for Tuesday Weld and her plight which basically focuses on trying to figure out what kind of person that she wanted to be all the while not wanting to grow up. Boo-hoo. These are the type of films that make me hate the entire movement of hippies.

• Eric B

  
  Very strange film...comes off like a rough student project from someone who recently saw "Last Year at Marienbad" for the first time. One gets the impression that five or six extended improvisations were shot, and director Jaglom chopped them up, intertwined portions across… More
  Very strange film...comes off like a rough student project from someone who recently saw "Last Year at Marienbad" for the first time. One gets the impression that five or six extended improvisations were shot, and director Jaglom chopped them up, intertwined portions across the film's duration and chose certain bits to naggingly repeat. Tuesday Weld smiles, laughs, and philosophizes like a daydreaming child. Orson Welles -- with a awkward foreign accent -- does magic in the park, paternally cuddles with Weld and holds onto hopes of making things disappear with a word. The Firesign Theatre's Phil Proctor is a dull, passive-aggressive schmuck who fails to win Weld's heart by endlessly trying to think of world cities which span his love for her. Jack Nicholson (whose role is probably not substantial enough to satisfy curious fans) drops in, acts rakish and aims to steal Weld from Proctor. Scratchy torch ballads (mostly French) dawdle throughout the score, serving as aimless backdrop for the montages. As the credits rolled, I realized that I couldn't remember why Weld's character had been called both "Noah" and "Susan." It's that sort of movie.