I can say this film has staying power as I've seen it about half a dozen times in the 12 years since it came out; the most recent occasion was a week ago, and it still holds up, like a great play. It's all in the dialogue and acting: Stillman's idea of an action scene is someone opening a champagne bottle a little over-enthusiastically.<br /><br />The characters are beautifully drawn, none of them perfect, none of them without some redeeming features. They seem very believable to an outsider from England. The dialogue is a never-ending delight, full of great one-liners, yes, but also some equally cherishable, marvellously pompous sermonising and theorising from these slightly preposterous yet strangely loveable people (particularly Charlie Black). It's not exactly a comedy, but I laughed out loud a lot more than I have in some films that have been trying desperately hard to make me titter.<br /><br />For me the great mystery is this: whatever happened to this fine young cast?? Edward Clements has done virtually nothing since this film, ditto Carolyn Farina (apart from a small part in Age of Innocence); likewise Eigeman and Nichols, although the former seems to have racked up a few more credits, and the latter was in Boiler Room, although I didn't realise it was him until the credits rolled.<br /><br />If you need action and plot, this film probably isn't for you. But anyone else can dive in and and enjoy a genuinely independent film that shows what can be done on limited resources. This film is worth more in my heart than the combined works of Joel Schumacher, Don Simpson and their tiresome, overblown ilk.