"Touches of the charm, the pointed observations, the fine control of color, tone, mood, character, and milieu that mark Freed at her best—all borne poorly by a vehicle that tries for more significance than it has."
It's still Freed, but a thinned quality causes events in her South African lives this time seemingly just to happen
, not accumulating the dimension or history-nuanced flavor that distinguished The Mirror
(1997) and The Bungalow
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