Things Change

The performances are pristine in their theatricality, Raul Ruiz Anchia's lighting is neo-classical in its velvety richness, and the script (by Mamet and Shel Silverstein) is unfailingly intricate and consistent, for all its flamboyant use of coincidence. But it is the art of Don Ameche's courtly, charismatic characterization that lifts Things Change above the level of a crafty, enjoyable stunt.

The film is mostly light and funny, but it also has a wistful ending that lingers in the mind. Both lead actors are sensational. [21 Oct 1988, p.A]

An enchanted lark about wiseguys and those hustlers who think they are wiseguys, but aren't.

For much of its length the picture is brilliantly successful-light, surprising and, because it asks the audience to participate in its creation, unusually engaging.

Things Change is a delicate balance of things that don’t easily go together: farce, wit, violence and heart. Here they do.

The movie is modest and winning, and we almost feel guilty for wanting it to be more -- but we do. The spirit of camaraderie and the love of performers performing is infectious, though. It may not be enough, but it's close.

There's nothing to look at except Gino and Jerry's mummified skits, which are directed at a deliberate and unvarying pace. Mamet piles on improbabilities in a matter-of-fact style; flatness of performance seems to be part of the point. This minimalist approach--it suggests a knowingness--takes the fun out of hokum. The result is like a Frank Capra--Damon Runyon comic fairy tale of the 30s in slow motion.