Bounce Reviews

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March 19, 2002
Two movies in one -- lively when people are talking, lame when things are happening.
April 16, 2001
You can almost see the strings as the actors are manipulated into position for one more weepy scene.
January 1, 2000
Resembles the compromised movies [Roos] used to write for the studios, though it's more like Boys on the Side than his dreaded rewrite of Diabolique.
January 1, 2000
Yes, it is perfectly, utterly predictable ... but its details aren't, and they are worth savoring.
January 1, 2000
Roos has taken a far-fetched and soapy story about tragic fate and redemptive second chances and made it seem not only plausible, but worthy of serious discussion.
January 1, 2000
This touching, finely wrought bowl of suds is a seamless piece of work.
January 1, 2000
There's no way out of the excruciating melodrama, and the film withers in its trap.
January 1, 2000
The script by Don Roos, who also directed, makes good use of the dramatic irony.
January 1, 2000
Dramatic contrivances and manipulation stain a tissue-thin plot.
January 1, 2000
By letting star power and commercial considerations warp good storytelling judgment, Roos has shortchanged his own movie, not to mention the audience.
January 1, 2000
The time has come for unsparing truths: Has there ever been a duller Hollywood duo than Ben & Gwyn?
January 1, 2000
What a lingering, contrived, lukewarm mess this is.
January 1, 2000
Roos combines a sharp script with excellent performances and comfortably lived-in sets to produce a cornucopia of poignantly human interludes.
January 1, 2000
A mopey romantic contrivance, with a touch of strained comedy, that maybe is slightly better than last year's Random Hearts but still tedious.
January 1, 2000
Has a lot more ups than downs.
January 1, 2000
The liveliest, loveliest drama of personal and romantic redemption since Jerry Maguire.
January 1, 2000
Something is missing in Bounce, the muted dynamic of which calls forth a perhaps inevitably muted reaction.
January 1, 2000
As a director, [Roos] brings a keen eye for character and nuance to his writer-side's lapses.
January 1, 2000
So assiduously unsentimental that it comes off as cold and anemic -- and flat.
January 1, 2000
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