Any film that opens on the day the world ends is likely to capture the attention of its viewers. It certainly grabbed mine. But the film opens with even more flare than just that. Just about every shot is quirkily framed, oddly deadpan, you'll laugh just at the look of the film. And the spinning of the story, respecting and cajoling your ability to figure out what these players throw at you in pieces.

That opening act had me in a free giggling state for fifteen minutes. Unfortunately, once the cat is out of the bag (namely, we as viewers have figured out what the story is about) the picture loses its edge. Additionally, the remaining half of the film has less fresh shots, fewer locations, and a narrower scheme. All of that means less wholesome giggling, and a bit of a drag on momentum.

Just near the end, we're taken back to our main character's home, the strange boathouse. It's refreshing to be there and we realize just how much that location was missed. And not just the location, but the discovering of her relationship (or lack of one) with her husband. Actually, that interaction is sweetly created. The picture could have used much more of it -- developed it more -- and less bus ride. The crazy persons in the boiler room add much less.

The acting is touch and go, the direction very very good for the first 15 of this 58 minute piece. The music excellent throughout.

And I like the premise greatly: a bored, but otherwise normal woman, decides to be institutionally insane in search of passion in life. The crazy people she meets are more the harmlessly eccentric sorts, than the dangerous or functionally challenged -- that perhaps might have given the script some more teeth.

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