The defence The Prestige Tourist
“Sincerity is not manipulation.”
The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.
Back to trending 
Coming Home
Drama · Romance · War · 1978
In 1968 California, a Marine officer's wife falls in love with a former high school classmate who suffered a paralyzing combat injury in the war.
Movie details
Coming Home
“A man who believed in war! A man who believed in nothing! And a woman who believed in both of them!”
1978 Drama · Romance · War 2h 7m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
7.0 / 10
Community rating
In 1968 California, a Marine officer's wife falls in love with a former high school classmate who suffered a paralyzing combat injury in the war.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Coming Home?
For the defence
The Prestige Tourist
“You like your greatness pre-approved.”
Read their case For the prosecution
The Popcorn Loyalist
“Big screen, big feelings, no apologies.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Where it lives
Watch in your region.
Cinema release signals and current streaming, rental, and purchase options for your region.
Streaming availability data supplied by JustWatch.
Names above the title
The people responsible.
Cast & crew
Directed by
Hal Ashby
Written by
Nancy Dowd · Waldo Salt · Robert C. Jones
Jane Fonda
Sally Hyde
Jon Voight
Luke Martin
Bruce Dern
Capt. Bob Hyde
Penelope Milford
Vi Munson
Robert Carradine
Bill Munson
Robert Ginty
Sgt. Dink Mobley
M
Mary Gregory
Martha Vickery
Court is in session
Put Coming Home on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Popcorn Loyalist
“The strings are showing.”
Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.