Ethan Hawke makes what could have been an exhausting character equal parts charming, funny, tragic and self-aggrandizing. It is really entertaining, which is important here because Lorenz Hart is basically the entire movie.

It certainly contains elements from its predecessor, mixing it with aspects of A Nightmare on Elm Street to create a next step that is sort of logical. The result is uneven to say the least.

It is captivating because writer/director Kelly Reichardt never turns up the emotions or injects intensity. It is a subversive heist story focused on a man quietly struggling to admit he screwed up.

It is a fine story, yet the production does not contain a lot of power. It comes off as forced, like the path of the story is inevitable, regardless of whether or not it earns its emotions.

It is a detached character study with a strong central performance. It is pretty good, even if it isn’t the most entertaining sports movie.

It is predictable, with dim characters, a slow pace and no sense of location whatsoever. But then there are bursts of surprising cleverness and some genuinely funny moments.

A tremendously timely movie about revolutionaries, extremism, authoritarianism, hypocrisy, freedom and family. It is exhilarating, brilliant, insightful, thought-provoking and extremely captivating.

Its premise just doesn’t work. It causes some serious tonal shifts that hang over the movie’s themes like a massive distraction.

It is too strange to imagine it becoming a commercial success and not insightful enough to become an art house hit. Those looking for a strictly traditional romance will likely be confused. However, it is worth the trip for those seeking a slight spin on the familiar.

It is a little uneven, repetitive at times, with an ending that makes the story feel sort of pointless. But it is also cleverly made, with likable characters and a constant sense of overwhelming dread hanging over every second.