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Love and Death on Long Island

Love and Death on Long Island

Drama · Romance · 1998

Curmudgeonly author Giles De'Ath, a widower with a marked distaste for modern popular culture, attempts to buy a ticket for a film adaptation of an E.M. Forster novel, but instead finds himself watching a tacky teen sex comedy. Yet when the beautiful Ronnie Bostock appears on the movie screen, Giles finds himself caught in a whirlwind of unanswered questions about both his own sexuality and his place in late 20th-century society.

Movie details

Love and Death on Long Island

1998 Drama · Romance 1h 33m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

Curmudgeonly author Giles De'Ath, a widower with a marked distaste for modern popular culture, attempts to buy a ticket for a film adaptation of an E.M. Forster novel, but instead finds himself watching a tacky teen sex comedy. Yet when the beautiful Ronnie Bostock appears on the movie screen, Giles finds himself caught in a whirlwind of unanswered questions about both his own sexuality and his place in late 20th-century society.

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 Love and Death on Long Island?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Richard Kwietniowski

Written by

Richard Kwietniowski

John Hurt

John Hurt

Giles De'Ath

Jason Priestley

Jason Priestley

Ronnie Bostock

Fiona Loewi

Fiona Loewi

Audrey

Sheila Hancock

Sheila Hancock

Mrs. Barker

Harvey Atkin

Harvey Atkin

Lou

Maury Chaykin

Maury Chaykin

Irving Buckmuller

Gawn Grainger

Gawn Grainger

Henry

Court is in session

Put Love and Death on Long Island on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.