Whether it was (shrewdly) planned or not, Bill Murray has become one of our greatest cinematic resources, just as comfortable doing dry comedy as he is acting in a mood piece; his whole melancholy being has become perfect for avant-garde comedy, and this meticulously-mounted and shaded dramedy is a true Bill Murray vehicle. The loosely-structured plot is open to interpretation; it deals with calling up the past--which the film says you can't really do because it's gone--and not worrying about the future because it isn't here yet. Murray plays a computer businessman, a committed bachelor and "over-the-hill Don Juan", who receives news he might have fathered a child with an ex-girlfriend 20 years ago. Originally titled "Dead Flowers" (more effective and appropriate), the film is an unintended journey of self-discovery from writer-director Jim Jarmusch, purposely incomplete but not pointless. Jarmusch's screenplay leaves the scenario open for discussion, with each sequence structured in such a cockeyed way that we don't really know where the movie is headed. This is perfect for audiences interested in something a little different (even when the pacing is dryly solemn or slow, the picture delights in being anti-formula). A good film; difficult as an entertainment per se and often puzzling or obtuse, it nevertheless continues Bill Murray on the rewarding path of an actor with incredible taste, decision and consequence. **1/2 from ****
