Long plays him very well, imbuing him with an instant unlikeability without alienating to the extent that his appeal to Kimberly is incomprehensible. She, on the other hand, is served less well as a rounded character but is at least given a sunstantial amount of the film's agency even if she proves to be less interesting on the whole. As they flirt and argue through a midnight stroll, a train journey, a long-distance phone call and in a Paris hotel room, the action shifts back and forth between the two at vital thematically linked moments. The effect works well for the most part even if the insistence on validating the structural techniques via the characters' pseudo-intellectual conversations begins to grate and negates its impact.
The same problem inhibits Eric Koretz's cinematography which is uniformly beautiful to behold, but suffers at the hands of its studied composition with perennially off-kilter framing that are presumably intended to echo the kooky characters and wider 'alternative' styling. It's the double-edged sword of trying to craft an indie romance that will stand out from the crowd; it may well be memorable to those that see it, but not necessarily for the best reasons. Long's performance is a definite positive and the ambition is encouraging to see, but Comet is perhaps more successful as a directorial calling card than the timeless love story it pertains to be.
Ben Nicholson | @BRNicholson