"Expertly performed and executed, but on the whole rather self important- perhaps it was so pre-concieved, so confident in its accomplished technique, it almost left you with nothing to respond to. Almost. The saving grace for me- and what I think was a source of criticism for others- was the significance of the three horses. Perhaps beneath the mechanical sheen, the sharp corporate Mamet-talk and the ultra-cool modernist narrative, there was something rather strange and surreal at work, a dark Lynchian underpinning at odds with the surface glossy realism. Let me explain a little more: the word ‘miracle’ re-occurred again and again- almost like a mantra throughout the movie. No less than three characters use the word. The image of the horses is foreshadowed in the book that Tom Wilkinson is reading, in an illustration which George Clooney later sees as enters the former’s loft apartment. This is the same book that Clooney’s son recommends to Wilkinson in an earlier phone call. As Clooney drives, it is this image come-to-life on the horizon which unsettles him and makes him leave the car -ultimately saving his life. This is the miracle which finally comes to pass and for my money adds a whole darker dimension to the film which otherwise would have left me rather cold."