Don't Come Knocking
Time Out says
The lack of emotional, psychological, philosophical or dramatic nuance here is hardly surprising, given that the script proceeds inexorably from cliché-packed, through inconsequential, to virtually incoherent. Then there are the characterisations dumped on or executed by the rest of the cast: as Spence’s ex, Lange appears constantly amused by the follies of the man (or is that men?), while Tim Roth is woefully miscast in the supposedly comic role of an agent intent on returning Spence to the set. As the son, meanwhile, Gabriel Mann doesn’t even manage the modest feat of one-dimensionality.
Most of what develops plays like a parody of Wenders’ favoured tropes and motifs (lives wasted, family tensions, the rock ’n’ roll life, the lure of the West), save that it’s not funny – not intentionally, anyway, though some of the clunky dialogue and lapses in narrative logic are certainly laughable. By the time we get to the point where the camera is endlessly circling Shepard sitting on a sofa in the middle of the street, it feels as if he and his director were making things up as they went along.
Cast and crew
Eva Marie Saint