This movie is the proof that the world is becoming a sick and dumb place

Absolutely brilliant

A story that's too fascinating to pass by...

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Follow the bag of money for an hour and a half. That's the extent of my spoiler.Great cast, put to decent use. Promising (and entertaining) for at least the first half-hour.Jeremy Davies, Rachel Leigh Cook, Michael Lerner, Russell Means, Chris O'Donnell, Keith David, Jon Polito, Bill Pullman, and Michael Rapaport.Severely padded out (with useless flashbacks) to 93 minutes. Should have been 15 minutes shorter. But then it wouldn't have been a feature-length film.Could have been a 6 (out of 10), but knee-capped itself to a 4.

Sometimes simple is better. The movie did a great job of working my "feelings". I cringed and squirmed, laughed and smiled. I even enjoyed the setting. Bizaar was intertwined with normalcy to create quite a mess; a good mess. I think the movie did what it was intended to do. I was entertained and not left wondering if I had missed something. As with all art, the piece is up to the interpretation of each viewer. Most will probably not like this movie due to some disturbing content. I enjoyed the affect it had on me. The drifter's memories coming back to him in bits and pieces was done well. It may seem confusing at first, but anyone caught up in the story will soon understand what is happening. The FBI agent "twist" was a nice little addition to the ending.

This horrific attempt at originality in editing(all the worse for making it try and look as though there were some intent)and stabs at Tarantino-Mariachi-Lynch mixture comes out as tasteless, stupid, unfunny and pathetic garbage. The director is the mental offspring of the likes of Henry Jaglom and Dennis Hopper school of misdirection. It is loathsome in every way---one cannot spoil the blue of the skies. And to try and be so hip with the use of the Gremlin as one of the endless amount of cars and hiring Chris O'Donnell to play against type---CHRIS O'DONNELL? TYPE?...never to be used in the same sentence. Killing him off early wasn't soon enough..Gawd, he cannot act. And, to those performers who DO have some talent; are soooooo bad I was throwing things at the screen for them not having the gumption to know they were "being used for something evil". Please, please, NEVER let this man near a camera again!

the friend i first watched this with hated the movie when he rented it. of course, this friend also bought XXX, having not ever seen it. so i guess that speaks for that.*spoiler(s)*the script is phenomenal. i really enjoyed the touches of humor, especially since they were so off the wall most of the time. i get a kick out of the chief trying to talk like a movie Indian. the whole bit with the guy not being able to "sire" is insanely funny, and i love it when he pretends to die with the other patient's heart monitor. any of the scenes with the sheriff are great. my favorite punchline of the movie is: "son, you don't need a lawyer, you need a library card." but how about that chase sequence at the end? a limo trying to ram a bus? now that's just absolutely hilarious.otherwise, i like how this is a post-post-western. it's still got guns and a sheriff and bad guys going after money and indians. and even though the drifter says it's really about trying to find someone you can trust, i know better. it's really about our country screwing the indians, all over again. the chief's final bit about white people taking their land, and then giving them whiskey, and then pitying them as drunks, and then giving them gambling, and then making them beg for their money... well... it's a bit preachy... but then all westerns (and post-westerns and post-post-westerns) are supposed to be about the dying frontier. the frontier is dead, but the Indian has cancer. i think the opening shot of the pro-Indian-casino billboard and the interpretive shot of the chief's rage (as he's running at the camera, towards the bus) towards the end of the film perfectly underscore this tribute to the dying survivors of the frontier.in addition, i thought the camera work was well done. although the director recycled his few obvious uses of technique, namely the flashback montages and the 360-degree pan shots, i thought they were decently spaced and efficient. i also really appreciated the tastefulness that was used in filming the sex scene. panning away, and letting the imagination do the work is what really makes an intimate scene sexy. lubitsch knew that, and apparently so does ricagni.