A provocative, intelligent, well-made film

Rating: 9/10 (13 November 1998)

It is always easy to poke holes in the the efforts of others. The more sincere and earnest those efforts are, the easier cynical critics find it to denigrate them.
Nothing succeeds entirely and AHX certainly has a number of (minor) weaknesses that others have pointed out - primarily problems with the script. But where it fails it mostly fails because it tries to do something very difficult.

There is a sincere attempt here to add a thoughtful and provocative comment to the important dialogue on bigotry and hate that is essential to human survival in an increasingly inter-racial, intercultural world. That Kaye and McKenna choose to end with a truism: "hate is baggage" - is not a cop-out, but a painful truth - hate is in us and only by dealing with our own hate can we deal with that around us.
What is perceived as Norton's "vanity" is completely in keeping with the character - stemming from the same insecurity as his need to control and his racist self-aggrandisement. What else is the swastika tattoo, for instance, but a piece of vanity: primitive body-jewelry? His performance is daring, frightening and compelling if one is able to drop the defenses of cynicism and be moved by it. Ditto Edward Furlong's work.
This is one of the best realised films by a first-time director and first-time screenwriter I can ever remember. Although imperfect, it is damn good. Even to have gotten such a difficult, non-"feel-good" film to the screen is an enormous labor. All involved deserve thanks and praise for - not a flawless job - but a job very well done.