Criss Cross - Überleben in Key West

Of course it was no blockbuster, but just a nice, unglamorized story from a page out of the life of this fractured family. You could really get a feel for the time, and the soundtrack served that well, as well as the backdrop of the moon landing. It really brought back those sweet, sultry memories of long, carefree summers and young love. I think almost every note was true to life, even if the ending was a little too pat. Goldie Hawn did a great job with this more dramatic role (and still looked great!) and her co-lead, David Arnott, gave a realistic yet understated performance. David Carradine's part was brief and somewhat shallow, but still effective in conveying the emotional fallout from the Vietnam experience, however; it certainly wasn't a "Jacknife" caliber role. The scenery and atmosphere of the movie was beautiful and really made you feel like you were right there. It made for a nice Sunday afternoon viewing.

Considering that the story-line sounds like the typical fodder for the women's movie networks, this film is quite well done. The characters and performances are pretty believable, the kids are fairly kid-like, and for those of you who have written off Goldie Hawn, she's quite nicely un-Goldie-Hawn-ish. This is not a great film, but it's a pretty good probability that there is nothing better on cable at that moment.

Young boy in the Florida Keys in late 1969 keeps tabs on his exotic dancer mom while mourning their separation from his Vietnam-scarred father. A curious choice for star Goldie Hawn, who must've seen this as an opportunity to stretch a little bit without verging too far from her proved persona; newcomer David Arnott is well-cast as Hawn's son and has an amazingly deep voice, a forthright manner and an easy gait (he's really the star who is born here). The script, which is likably littered with beach bums and hotel-residing characters, isn't particularly pointed, nor does it leave us with much at the end, but Chris Menges' direction pulls every ounce of beauty from it. When Goldie's car breaks down, it's on a concrete bridge overlooking a melancholy stretch of ocean; when Hawn and sports-writer Arliss Howard have a heart-to-heart, it's on the beach during a brilliant red sunset. This great-looking picture is a real beauty, although it is lackadaisically paced, extremely low-keyed and takes a while to expose its heart and reach its audience. *** from ****

Slow paced as mentioned in another comment like a sleepy summer afternoon, the depiction of life in Key West in the late 60's rings true. It isn't polished and glitzy or glamorous. You can see this play out in your life or the life of friends.

the film centers around young David Arnott in the title role. The awkwardness and naturalism works in making it more real.

If you are looking for whizbang Hollywood value type of action here, this isn't the place. what you get is a true to life drama that can happen anywhere, at any place. David's moral choices are based on how he sees things as a real kid.

As a movie, it works well.

Almost no other motion picture so deftly captures the look, water, grit & sensibility of Key West in 1969. Excellent camera work (Ivan Strasburg), coupled with inspired lighting lend the true taste of America's southernmost island on film. Chris' (David Arnott) despair that his mother (Goldie Hawn) sells her sexiness at a local strip bar, plays counterpoint to his emerging manhood shared with girlfriend, Termina (Christy Martin). The crafty screenwriter (Scott Sommer) use the first rocket to land a man on the moon, as an effective time in which to set the story. It becomes a powerful phallic symbol as the boy growns to manhood. Another terrific use of symbolism is seen when the automobile carrying Chris and his mother across the Seven Mile Bridge breaks-down. The image is a visual metaphore for the of the pair in opposition. The Chris fixes the car represents his growing ability to control the world around him. The scene is also visually stunning. There are plenty of other symbolic touches used in this sweet and somewhat overlooked film.