So what we end up with is an uneasy lurching, in script and direction, from light to dark, from farce to, if not tragedy, then to a drama of serious issues. Nevertheless, there are wonderful things here. Jamie Lee Curtis, in a thankless role as Harry's wife, has little to do but walk through her scenes, albeit with her customary professionalism. But as usual with Boorman, he seems incapable of leaving well enough alone. There's always something more he's thrown into the mix, visually or verbally, and as always with him more is too much.
Frames are too stuffed with goods and people, and scenes are too closely shot.
He overwhelms us with images when he should sit back and trust his material and his actors to carry the film. Yet there is no Boorman film without at least some redeeming interest, and this is no exception.