In setting up the rudiments
of this situation, the film can't be faulted,
at least on the
level of its script (Rafael Yglesias adapting his own novel), direction (Peter Weir returning to a relatively
serious mode after the claptrap
of Dead Poets
Society and Green Card), and performances (Bridges and Perez give uncharacteristic, highly arresting portraits
of people in a sustained state
of shock).