In the 1984 documentary "I'm almost not crazy..." John Cassavetes defines filmmaking as "waiting around...for your dynamic turn." That surely applies to his own improvisatory works: Shadows, Faces, Husbands, Minnie and Moskowitz. They are anguished home movies of actors searching for the precise pitch of rage or love. The films mean to grapple with painful truth, but it can seem ages between epiphanies. A Cassavetes movie often plays like two hours in the waiting-waiting-waiting room of the Actors Studio.
The weird thing about She's So Lovely is that a script by the impresario of improv, directed by his son, should become...
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