gavin6942 A young boy struggles on his own in a run-down motel after his parents and younger brother are separated from him in 1930s Depression-era Midwest.Being based on a memoir, I have to wonder how much of this is fact and how much is fiction. There is nothing fantastical, so I am inclined to believe that it is largely true. However, given that the main character is prone to telling stories, it leaves me to wonder if perhaps the narrator may even have fudged a few things in the process.Ultimately, it does not really matter either way. The story is enjoyable and the whole thing is very tightly directed and edited. Although not very much actually happens to this kid, it is still fun to watch him get himself into and out of jams... and we have to wonder how much of a con artist the pet store owner is.

mwpm King of the Hill is an impressive film, and I wanted to like it more than I did, but throughout the film I found myself asking: "Is this the same Soderbergh who made Sex, Lies, and Videotape? The same Soderbergh who would become one of the most innovative and versatile directors of 90s and 2000s American cinema?" The film, however, is encumbered by corny music, cheap sentimentality, and bad special effects. I don't know much about the production, but if I had to guess I'd say that these discrepancies are not the work of Soderbergh, but the studio behind him. Soderbergh was, after all, a fresh faced Independent director looking to find his footing, and landing in Universal Studios. It wouldn't be the first case of studio intervention in 90s Independent Cinema - specifically the early 90s, when Independent Cinema was still on the rise and didn't have the strength it had after the success of films like Clerks, Pulp Fiction, etc. (but before the late 90s and subsequent failure of various studio funded films by "Independent" directors). Universal Studios in particular is notorious for its "intervention". I'd like to refer readers to the case of Terry Gilliam's Brazil. Where the film succeeds, it triumphs. The performance of young Jesse Bradford (in the lead); supporting performances by Spalding Gray, Karen Allen, and a young Adrian Brody; masterful adaptation and direction by Steven Soderbergh... If only the quality was consistent.

claudia02127 I watch this movie, whenever it is on cable. Jessie Bradford is excellent, and you never doubt his sincerity for a moment.I thought that the little brother was terrible, though...and I was kind of glad to see him go. I was disappointed when he returned.(I read in an earlier submission that someone said the mother was mentally unstable. that's just not so. She went to a Sanatorium, for her tuberculosis. I had to clear that up) Not a fan of Adrien Brody, but he played a good part, and his character was likable.**Here be spoilers** (kinda) One of the best moments in the film, for me, was when the Cop almost got killed by the produce truck, and the child he was harassing, stole some fruit and ran. I couldn't stop laughing.I would recommend this film highly.

Donald Agustamarian Over the years this little gem of a film has become a personal favourite. I revisit it continuously, I enjoy showing it to someone who never heard of it and it never fails. The emotions are renewed and reinvigorated with each viewing. Jesse Bradford is simply phenomenal and so is Adrian Brody, yes him, "the kissing pianist" in a remarkable early performance. The face of Karen Allen, as the teacher, listening to Jesse Bradford read his tall tale, profoundly aware that she has someone truly special in her class, is so beautiful that goes in an out of my memory bank more often than the names of some of my closest relatives. Spalding Gray and Elizabeth McGovern's characters deserve a full movie of their own. Lisa Eichhorn's tender fear of having to leave her children behind is just another of the ravishing notes of this stunning film. If you haven't seen it. Give yourself the pleasure. You are going to love every little bit of it.