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If I were rating this film on the usual criteria of script, acting, direction, editing and soundtrack, it would get a 5 or 6 tops. It suffers from many of the same faults as most '70s B movies. The cinematography had some good moments, but it was the originality of the plot line that piqued my interest. I've viewed many films over the years, and do not recall one with a storyline as unique as this one. Reincarnation themes usually deal with lives in the distant past. The novel concept of exploring a life reincarnated from a generation still living was interesting, to say the least, and allowed the screenwriter to weave in some intriguing detective work, as well as the hero's personal reinvolvement with the past life. Bravo, Mr Ehrlich... it kept my rapt attention throughout.

It's interesting that most of the reviews on this movie rate it according to whether the writer agrees with the politics of the film. Lefties tend to rate it high, righties low. There are many facets of a film that can influence its ultimate rating, but in my view, the quality of writing, acting and overall production should take precedence over the political agenda of the film. Although I disagree with its premise that the protagonists were unwitting victims of their fate, I'll rate it a 7 based on my positive assessment of the above referenced factors.

The script was thoughtful and realistic, the acting adequate (Blanchett was exceptionally watchable) but more importantly the story was informative and engrossing. When you learn intriguing facts about political history and the "news" process, it's usually worthwhile entertainment, despite the screenwriter's subjective treatment. The real Mapes and bitter. Partisan Rather received what they deserved in this revealing, notable media moment in history, but their interpretations were well stated and worth consideration. I guess I'll have to concede that part of this film's attraction for me was to witness the just desserts being served. Although it may not live up to the credibility that its title implies, in the end it was enjoyable fare.

If you could reduce this film to a graph, it would look like the Himalayas. Some great peaks, some lowly valleys. A potpouri of amatuerish Kabuki, brilliant lines and interpretation, sinister suspense, red neck satire and a really lousy conclusion. Meg Ryan reminded you of why her career took off like a rocket. Quaid went from subtle to serial wooden. Paltrow showed a new dimension, and Caan demonstrated why his best days were long past. At times, I would have given it a 7, but it's attempt at a pithy resolution tanked it to an unfortunate 5. Still, I'd recommend it as a worthwhile cinema safari, as long as consistency isn't a requisite.