Based on 14 Critics
  • 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]

  • 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]

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

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