The transfer to screen of Michael Frayn's stage piece is in Peter Bogdanovich's more comfortable or anyhow less discomfiting mode, the frenetically pointless as opposed to the face-pullingly pretentious (Saint Jack always excepted), a theatrical farce wrapped around a sex farce (titled Nothing On) en route from Des Moines (Act I) to Broadway (Prologue, Entr'actes, and Epilogue) via Miami (Act II) and Cleveland (Act III). The sex farce is convincingly awful, assuming that's what it was meant to be, whereas the theatrical farce surrounding it is recognizably less awful. The somewhat TV-heavy acting ensemble of, in alphabetical order, Carol Burnett, Michael Caine, Denholm Elliott, Julie Hagerty, Marilu Henner, Mark Linn-Baker, Christopher Reeve, John Ritter, and Nicollette Sheridan maintains in word and action a breathless pace (i.e., Bogdanovich as pupil of Hawks). Or at least, thanks to retakes, editing, and whatnot, the illusion of a breathless pace. But thanks again to retakes, editing, and whatnot, there is no risk here as there is on stage. (1992) — Duncan Shepherd
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