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reviews

60
Based on 14 Reviews
critic reviews (10)
fan reviews ( )
  • 25
    Mick LaSalle San Francisco Chronicle

    There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian. show more

  • 75
    Carrie Rickey Philadelphia Inquirer

    What threatens to be 80 minutes of hypochondria turns into an inspired travelogue of nontraditional remedies. [13 June 1997, p.03] show more

  • 60
    Jami Bernard New York Daily News

    As filmed by Steven Soderbergh with appropriate visuals for a movie about perceptions, Gray's quest for ocular health leads from an Indian sweat lodge to a Filipino psychic surgeon. [19 March 1997, p.39] show more

  • 63
    Rick Groen The Globe and Mail (Toronto)

    Here, Soderbergh's visual additions -- gimmicky lighting, surreal backdrops, all cued to the monologue's changing rhythms -- are more distracting than enhancing. Or maybe not. In a way, the camera's empty gimmickry points to the same tendency in Gray's verbal canters -- diverting enough but, ultimately, isn't it just sleight-of-mouth? [18 April 1997, p.C5] show more

  • 50
    Chicago Sun-Times

    Rather than trusting in the verbal powers of this master storyteller, who requires only a desk to sit behind, Soderbergh subjects him to light-show effects, tilted camera angles and projected backdrops -- urban setting, forest, eyeball blowup. [1 August 1997, p.27] show more

  • 50
    Mark Caro Chicago Tribune

    The movie Gray's Anatomy demonstrates that fully stimulating the senses isn't the same as fully engaging them. Gray still begins talking in his trademark plaid shirt with a notebook and glass of water at his table, but soon Soderbergh is sending him on a Disney ride of scenery changes, lighting effects and moody music. [1 August 1997] show more

  • 50
    Barbara Shulgasser San Francisco Examiner

    The artificiality peculiar to moviemaking rubs up counter-productively against the artificiality peculiar to live theater, making the movie version of Gray's material seem arch, contrived and starchy, not the spontaneous eruption that his theater work manages to resemble. show more

  • 50
    New Orleans Times-Picayune

    This latest enterprise - 70-odd minutes of purposeful navel-gazing directed by Steven Soderbergh - isn't quite as searching or provocative as Gray's prior big-screen outings, "Swimming to Cambodia" and "Monster In a Box." [16 May 1997, p.L25] show more

  • 67
    Marc Savlov Austin Chronicle

    Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time. show more

  • 70
    John Anderson Los Angeles Times

    Steven Soderbergh takes Gray (who appeared in his little-appreciated gem "King of the Hill") places he's never been on-screen. Motion, color and brazen stylizing enhance what is at times a genuinely hysterical work on rationalized terror.[9 May 1997, p.F12] show more

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