I just watched this peace of art in my living room on a LCD, and a movie with Laura Linney is always some kind of a wonderful experience. The story is touching, Rob Morrow is superb, Craig Sheffer intense as ever. Humor is here, great performing is here. The relationships are profound, you really get in tune with a deceased painter that wants to live a life out of the blue, that can love just anybody else but is afraid to tell. This is sweet cinema as a maze of passion can be. As I read: can a man and a woman remain just friends? Can two friends remain like so when a woman comes in? If you want your life changed for a 100 minutes go grab it right away.

I felt as though this movie was a classical 90s movie. When i saw it, not knowing anything about it, i believed it even preceded northern exposure. There's a fleeting classical 90s quality to it that i can't define. It doesn't come off sappy and overused like lifetime movies, and it doesn't come off as a premeditated and transparent corporate travesty like ally mcbeal. It's just so, 90s, it's the most 90s movie you'll probably see in a long time. It might even be the last 90s movie ever made.It's honest and sincere without premeditating being honest and sincere. It's warm, but not definably warm, there are no specially warmth-intended scenes. It's just, i can't say it better but that it's so 90s.

Spoilers herein.I have a hobby of carefully selecting films to see back to back. The very best experience is when you find two films that are imperfect by themselves, but when merged in one's mind become complete and powerful.This worked for me with `Maze' and `Immortality.' Both are about diseased, talented men who fall in love in an unwanted fashion. One involves birth, the other death. In perfect symmetry, one involves creative artifacts as art looking at bodies, the other art as actually being produced by bodies.One is a vampire movie. Vampire movies NEED redheads. The other film has the redhead, in almost irresistible, lovely, perfect openness. The vampire film eschews the compulsion and involuntary action usually found in the genre, where the other one embraces it.You really need to see both to see how perfectly these merge, how the impossibly sweet love of `Maze' fixes the problem with `Immortality' that the power of the love just isn't there. And similarly in `Maze,' the curse of the blood is always present, but never MEANS anything beyond a few comedic moments. Conflate the two and you have something constructed like Lynch's `Blue Velvet,' where darkness and light, love and curse, are played out as the battle between two film genres. `Velvet' had those two genres in the same film, but you as an intelligent viewer need not be so limited.You can even use the hooks each already provides: `Maze' shifts to shaky POV when the Tourette spasm strikes. Insert there, parts of `Immortality.' `Immortality,' on the other hand - following the French tradition - introduces the viewer (the policeman) into the story. He `creates' the vampire by watching: insert Lyle Maze's artistic process here, which in his home film is equated to the literal creation of a human (which is then introduced at an exhibit).Ted's Evaluation -- 2 of 3: Has some interesting elements.

I watched this movie with a great deal of interest as I have TS, as do both my sons. Rob Morrow gives a chilling performance - I thought he actually had Tourette's Syndrome. The frustration at not being able to do things the way he wants to because of his tics, the cruel comments from "normal people", the social ramifications and lack of self-worth were all portrayed exceptionally. I highly recommend this movie to anyone, but especially to those who know someone with TS. It gives a great deal of insight into the reality of life with TS. If you liked this movie you might want to see "The Tic Code" with Gregory Hines and Polly Draper.