Maybe you have to have experienced one of these anti-weather urban cocoons to appreciate the concept of the film, and the prickly people who populate it.

Has a poignant undertone: We may feel we already know in our bones just how suffocating this culture is; but the people who made this movie seem to be discovering each fresh horror for the first time. It's like watching a virgin sacrifice.

Waydowntown may not be perfect, but it is perfectly astute in the target it selects and in the questions it raises.

The film will resonate with today's alienated workers, whose every brain cell and nerve ending hates the soul-crushing jobs they're told they should be grateful to have.

It's a smart and creative comedy that skewers cheaply dehumanizing architecture and self-absorbed yuppie mentalities in a series of skillfully assembled scenes. See it in a theater that's waydowntown, and city life may never look the same.

A smart, sardonic satire.

Occasionally resembling an episode of Seinfeld taken to the big screen, waydowntown shares that show's ability to mine mundane details for humor, and its Tomorrowland-gone-awry setting provides plenty of raw material.

The acting is similarly accomplished across the board, though it must be noted that Currie nearly walks off with the film: He's the funniest preppie seducer since Tim Matheson in "Animal House" (1978).

Quirky and sometimes hilarious Canadian comedy.

With wit and empathy to spare, waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism.

Third outing for prairie auteur Gary Burns is his most ambitious, and most uneven, effort yet.