With its sluggish pace and awkward continuity, 'Crazy in Alabama' emerged as one of the most disappointing films released in 1999.
OK, Antonio, you love your wife, but that doesn't mean you have to cast her.
| Original Score: 2/4
Banderas' direction is as unstable as an isotope on Three Mile Island.
| Original Score: 1/4
Mr. Banderas fills his movie with lots of overbearingly stylized imagery. The results are something like a big-budget student film.
Connecting Lucille's actions with the boy's in a way that makes sense is a challenge that first-time director Antonio Banderas and screenwriter Mark Childress fail to meet.
Despite some rough intertwining, Crazy is an impressive directing debut from Banderas.
Because the civil rights sections are somber and serious and the Lucille sections exaggerated and giddy, Crazy in Alabama never finds any cohesive tone.
Unusual for a movie directed by an actor, a lot of the supporting performances in Crazy in Alabama are downright bad.
A cinematic hash of stale ingredients.
| Original Score: 1/4
There are a lot of movies struggling to get out of Crazy in Alabama, and most of them are bad.
It's troubling to watch it stray and ramble as first-time director Antonio Banderas struggles to pull disparate elements together.
The film is all over the board and never demonstrates a dominant personality to lead the viewer through the story.
When it comes to pacing, Banderas is hopeless.
[Rod Steiger] is the only man I know who can overact while his character is asleep.
Of course, it's probably foolhardy to expect logic or realism from a movie with the word 'crazy' in the title.
Melanie Griffith's presence causing the upbeat portion of Mark Childress' story to drag its feet, the movie tips out of kilter.
Crazy in Alabama ends up in a state of confusions.
A key problem is that the Lucille storyline just doesn't work.
| Original Score: 1.5/4
Crazy in Alabama needs to have been unified by a strong vision and style, and a shrewd, distinctive sense of humor.
| Original Score: 2/5
The movie flounders in the final reels, as a series of overextended courtroom scenes threaten to spell out every message Banderas and Childress have already underlined.