100 Streets

The threads may not all be original, but they’re kept nicely distinct. Rather than awkwardly intertwining, they merely brush up against one another.

The strands don’t so much intersect as float into each other’s peripheries to basically inconsequential effect, despite attempts to tie them together.

The actors are fine, but the material doesn’t give their talents much room to stretch.

While the film initially exercises commendable restraint in braiding its separate narratives, its second half grows increasingly reliant on pat connections and coincidences.

Unfortunately, 100 Streets' parts are greater than the whole, forcing it to crash and burn after an absolutely ludicrous third act.

Intertwining, Altman-esque social tapestries are all well and good, but the connections between characters should ideally run a little deeper than having them occasionally stroll past each other in the street.

Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.