A hatchet job on pet cemeteries, a well-marked target already (The Loved One, etc.), and a pitifully vulnerable one. Errol Morris, a Werner Herzog protégé, with his master's taste for the grotesque, keeps himself hidden in every sense as he lets the cemetery impresarios and bereaved pet owners address a cruel camera. Morris seems to be actively pursuing the laughs that the Maysles Brothers get without half trying. And indeed the Middle American speech patterns and interior decorations (bronzed baby shoes, framed pet portraits, and so forth) are a rich mine for laughs, although the flow of information tends to dry up fast in the static images, and the front-and-center compositions grow monotonous. Any compassion must be supplied by the viewer. (1978) — Duncan Shepherd
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