I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I wanted to but couldn't!

Best movie ever!

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Another unremarkable indie flick with a great cast. It did have some good moments scattered here and there. I usually love these working class movies. I like watching movies about small town American life. But this one was too slight. It seemed to be uninspired. The only interesting moment was during the Tyson boxing match. Anyway, the cartoon bits were very well done. EMILE HIRSCH does a decent job. STEPHEN DORPH does not have much to do. It is a waste of resources actually. KRIS KRISTOFFERSON and DAKOTA FANNING were completely wasted. (5/10)

Dire, Depressing, and a Bit Boring, this Indie Slice-of-Life Definitely has Talented Filmmakers at Work, but this is so Downbeat that it Never Raises True Concern or Empathy from the Viewer. Mostly Because it just Tries Too Hard.Virtually Humorless, Except in the Violent, Sketchy Animation that has its Charm. But that is about the Only Thing Charming in this Desperate Tale of Brotherhood. Emile Hirsch is Stoic and Noble in His Devotion to the Handicapped Stephen Dorff Playing Against Type as a Half-Wit Artist that is Hobbled by More than just One Leg.It is a Good Try, but the Film is Lifeless in its Showing of a Life with Less than Nothing to Live for. It Needs Some Upbeat Tweak to Contrast and Balance the Bleak and the Bummer that this so Strongly Embraces.

snow. animation. common acting. dark story. a mixture between Of mice and men , blue song and usual scenes from a gloomy America. it is not great or good or impressive. only decent. each actor does a good work and the presence of Krist Kristoffen remains the profound note of movie. a film like an old Dodge Dart. too common for many, not brilliant for the others. but interesting and almost touching. an adaptation. a testimony. realistic and full of ash taste. a film who can remember few basic things of ordinary life or be boring. but not bad. sure, it is not a revelation, Emile Hirsch and Stephen Dorff makes theirs character in well known manner but that is one of film virtues.

Gloomy nomads and gloomy Nevada in the 1990's amount to a gloomy viewing experience in The Motel Life. The title clues us well enough: Living any time in a motel could be disastrous for mental health. The movie itself has that kind of despair.Frank Lee (Emile Hirsch) helps wit-challenged brother, Jerry (Stephen Dorff), after the latter kills a boy on a bike and leaves the scene. Together they light out for motels with some imaginative cartoons representing stories Frank tells Jerry Lee throughout their lives. Some critics find the animations distracting; I find them imaginative and boredom reducing.The confusing mash up of past and present (the boys are not much different from what they were) is relieved by Annie (Dakota Fanning), who is serene even in her conflicts. Fanning has grown into an intelligent actress and shows it here. In fact, Frank is fortunate to have such a dear girl improbably waiting for him. Another relief from motel boredom is cops looking for the driver of the lethal car. Add an enjoyable cameo by Kris Kristofferson as Earl Hurley, a car dealer, and the film is momentarily relieved from oblivion. Otherwise, the boys are on the lam and reminiscing while going deeper in debt and guilt.One high point is their winning several thousand dollars betting on Buster Douglas over Mike Tyson. You can guess how wisely they use it. But the money allows them to go to another motel, by now a motif of squalor and loneliness, no surprise to those with limited income and without Marriott points. Changing motels and buying carry out food reinforce the rootless melancholy of these not-too-bright boys. It's tough to care about such nitwits.On a more positive note, cinematographer Roman Vas'yanov captures the bleak winter landscape using film, not digits. It's possible to see how much more imposing the winter can be with old-fashioned celluloid. Just consider what Hitchcock achieves with that old Bates Motel. Now that's not dull.