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"&lt;p&gt;Prize-winning playwright Arthur Miller wrote this original script &amp;#x2013; his first since &lt;em&gt;The Misfits,&lt;/em&gt; in 1961 &amp;#x2013; so attention must be paid. Just don&amp;apos;t expect it to be rewarded. Miller has buried a familiar story about small-town corruption under an avalanche of overblown dialogue. Nick Nolte, an actor whose reputation can survive anything if it survives this, stars as Tom O&amp;apos;Toole, a Boston lawyer turned Connecticut private detective. Angela Crispini, played by Debra Winger, is wooing him to take the case of a young man she believes has been wrongly convicted of beheading his uncle, a respected local doctor.&lt;/p&gt;\r\n&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;&amp;quot;You&amp;apos;re the most unexpected thing that ever happened to me,&amp;quot; Tom tells Angela. No argument. Angela is lavish with her compliments (&amp;quot;If there&amp;apos;s any hope in the world, a man like you is it&amp;quot;) and her body. For Tom, a widower who lives with his schoolteacher sister (Judith Ivey), Angela&amp;apos;s admiration for his &amp;quot;pair of brass balls&amp;quot; is a potent lure. He is less pleased to learn that Angela is a hooker who can count among her customers the dead doc, a druggie religious zealot spotted at the scene of the crime and a DA with presidential ambitions who has rigged the case against the kid. Angela is also a schizophrenic given to berating Tom in a voice out of &lt;em&gt;The Exorcist.&lt;/em&gt;&lt;/p&gt;\r\n&lt;p&gt;Angela is an impossible role, and Winger, terrific actress though she is, can&amp;apos;t make something coherent of it. &amp;quot;You&amp;apos;re trying to go north and south and powder your nose at the same time,&amp;quot; Tom tells Angela. That&amp;apos;s also a fairly accurate description of the movie. Nolte and Winger, together for the first time since the fiasco of &lt;em&gt;Cannery Row&lt;/em&gt; in 1982, appear to be getting no help from director Karel Reisz &lt;em&gt;(Isadora).&lt;/em&gt; Perhaps Reisz had all he could handle just keeping the threads of the script from unraveling. Miller borrows too many insights from himself: He&amp;apos;s covered corruption in &lt;em&gt;All My Sons,&lt;/em&gt; the little guy squashed by the system in &lt;em&gt;Death of a Salesman,&lt;/em&gt; religious fanaticism in &lt;em&gt;The Crucible&lt;/em&gt; and even sexual enthrallment in &lt;em&gt;After the Fall&lt;/em&gt; (a thinly veiled autobiographical play about Miller&amp;apos;s marriage to Marilyn Monroe). Throwing these themes together only dilutes their power. Worse, the echoes from those earlier, better Miller works remind us of what &lt;em&gt;Everybody Wins&lt;/em&gt; is so desperately missing: the ring of truth.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/movies/reviews/everybody-wins-19900119>