Director and co-writer Ira Sachs creates a restrained visual style, communicating his characters’ unease with compositions that place people on the extreme edges of one side of the frame, sometimes cutting off part of their faces. But repetitive interaction between characters in an aimless story can’t hold up the film’s weight, and it eventually collapses on its noble attempt to capture life’s frustrations and compromises.
And several are on Indie Wire including this Eric Hynes excerpt:
(Rip Torn's) method-acting arsenal is both deeper and less showy than Harvey Keitel’s, which might explain why subtlety-skittish directors prefer the latter actor for these brawny-blubberer roles and hire Torn instead for one-note turns with his baritone. Credit Ira Sachs for giving Torn room to move, and for knowing that a professional supporting player and space-sharer would ultimately let his co-star, Dina Korzun, run off with the film.