The failure of YOU CAN SEE EVERYTHING, a movie I liked a lot *as a movie,* is its invitation to consider whether Holmes is a victim. The film’s central conflict is Fielder’s aspiration that she is, despite overwhelming evidence that she is just a prolific and prodigious scammer.

I thought the film was meant to be a document of pathology, and the question is whether she knows that she's lying.

The Who’s On First bit was probably the sharpest sequence, but it was ultimately in service of making her look like a naive fawn.