Q: Without question, the worst film I've seen for a long while. I endured to the end because surely there must be something here, but no. The plot, when not dealing in cliches, rambles to the point of non-existence; dialogue that is supposed to be street is simply hackneyed; characters never develop beyond sketches; set-pieces are cliched. Worse, considering its co-director, the photography is only so-so.

Comments elsewhere that elevate this alongside Get Carter, Long Good Friday or Kaspar Hauser are way way off the mark; Lives of the Saints lacks their innovation let alone their depth and shading. In short, their craft. A ruthless editor could probably trim it down to a decent 30-minute short, but as it stands it's a 6th form film project realised on a million-pound scale; rambling and bloated with its own pretensions. That it received funding (surely only because of Rankin's name) while other small films struggle for cash is depressing for the British film industry. OPTIONS:
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A: negative
Q: The longer this film went on-and it seemed to tediously go on for ever- the more annoyed I became, as quite frankly, what a waste of time sitting through this total nonsense. How on earth do people get to make films like this,or indeed receive finance for such rubbish? Don't be fooled by the relatively high ratings on IMDb as it just proves you can fool some of the people all the time. And in this picture the main players have an obsession with guns, so it is not difficult to work out the way this movie will ultimately unfold. America can never understand that the rest of the world finds it bizarre how society in the USA has such an obscene and fatal 'gun culture'.

Anyhow:

The lead actor portrays a loser who escapes into a fantasy world of being a cowboy in an Urban sprawl.He comes across a family with two spoiled brat children, a teenage girl and boy; taken care of by a strict single parent father who can barely cope. The cowboy is seduced by the teenage girl or vice-versa, and the impressionable boy is seemingly taken in by the lunacy of the loser.

The cowboy spends the whole time in a state of unreality and depression.A total loser who prefers to go to the beach then work for living, and then commits a burglary on his family as he is too lazy to make money legally.

Ask yourself:

Who wants to watch either a sad failed loser in a fantasy world holding a death wish, or indeed view a poor family who are in effect not much better than white trash?!

This film is pointless drivel.

It only saves itself from getting the lowest mark possible by some half listen able music:

2/10. OPTIONS:
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A: negative
Q: I haven't seen anything this bad since I walked out of the James Bond movie "Moonraker" twenty years ago. I managed to sit through the entirety of this one only because of Tilda Swinton, but there was nothing she could do to save this beast.

As a cross between "Pi", "Orlando", and "Tron", this movie failed miserably in every aspect of moviemaking. The characters were cardboard and unable to evoke any kind of sympathy. The plot was wholly unbelievable. The acting was, with the exception of Swinton, amateur. The computer graphics were worse than in "Tron." Timothy Leary was extremely annoying. I could go on, but what's the point.

The only good thing I can say about this film is that Tilda Swinton was in it. I have no idea why an actress of her caliber consented to appear in such a dud, but she most likely regrets it now.

Don't waste your money or your time on this stinker. There's nothing worth seeing here. OPTIONS:
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A: negative
Q: Movie industry is tricky business - because decisions have to be made and everyone involved has a private life, too. That's the very original thesis of this feeble attempt at making an 'insightful' film about film. And indeed, no better proof of the industry's trickiness than seeing Anouk Aimee and Maximilian Schell trapped in this inanity. The insight consists of talking heads rattle off bullshit like "should I make a studio movie that pays a lot or should I make an indie item and stay true to my artistic self?" "Do the latter, please." Or: "our relationship is not only professional, it's private as well. It's a rather complex situation to handle, isn't it?" "Yes, it is, my dear." Between the insipid dialogs one gets glimpses of palm trees, hotel lobbies and American movie posters (no sign of non-American film presence on the Croisette). Recurrent slumber sessions are inevitable, making the 100 minutes of the film feel like ages. Jenny Gabrielle is spectacularly unconvincing in justifying her own presence in the frame. OPTIONS:
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A: negative