The most pure of Mamet's works to come to the screen.

Mr. Mantegna, who as an actor is one of the leading interpreters of Mr. Mamet's work, gives generous room to the movie's first-rate ensemble.

A must-see for Mamet fans.

Mantegna gives us just enough detail, enough exterior shots, so that we feel we're on a ship. All the rest is conversation and idleness. The lake boat is a lot like life.

It works for the most part, though some scenes come off contrived or directed without flavor. But thanks to the likable, rough-hewn crew and Forster, the film flows along gruffly and with eloquence.

Forster is the reason that even non-Mamet-heads might consider giving Lakeboat a shot. It's worth it just to see him in his long one-take exchange with Johnston about booze, but he's remarkable throughout.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.

Mamet's fixation on language is, nonetheless, more effective onstage than onscreen, where the technical and visual requirements distract from the sounds of the words -- the heart of Mamet's work.

Feels a bit flat and underdeveloped.

Though Mantegna can't quite lick the essential staginess of Mamet's adaptation of his play, even with lots of scenic shots of Lake Ontario, the performances are what one would expect with such a consummate actor in charge.

Students of acting will appreciate the relish with which the characters bite off juicy chunks of dialogue.

Forster not only makes this unlikely story emotionally believable, he moves you to tears. Lakeboat isn't much of a film, but for Forster fans, it's indispensable.

Brought to the screen awkwardly but ardently by Mamet-actor supreme Joe Mantegna in his feature-directing debut.

Lakeboat requires its audiences to embrace it as lovingly as Mamet and Mantegna embrace its men, but it's a lot to ask.