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It's a hit-and-miss game that relies as strongly on chemistry between the leads as it does the comedic aptitude of the performers. Linklater, working with Universal after his indie debut Slacker, had to overcome untold obstacles placed in his path by the studio; these were detailed in a brilliantly indiscreet diary published in the Austin Chronicle. It's an age-old story — poor Cinderella meets rich Prince Charming, and they angst over each other all the way up to the climactic ball, sorry, prom — but the full spectrum of adolescent anxiety is here: The movie drops us in the middle of an adventure, providing viewers with a sense of disorientation.
They don't like each other and it's not hard to see why. The film's effectiveness is based largely on the believability of Ellis' transformation from die-hard Klan member to equal rights' advocate. To what degree is it fair to eviscerate a film for accomplishing what it sets out to do? Suggest a correction.