Northfork would be a textbook case of style over substance, if there were any substance there at all. While Nick Nolte finds true grace notes as a minister tending to a dying boy, the film is more interested in mining awkward laughs from the stilted dialogues between James Woods, Mark Polish, and the other company men hired to clear out the town's citizens. A third story involving the dying boy's hallucinations (or maybe they are real) of afterlife figures could have added a level of philosophical gravity to the proceedings, but only succeed in layering ethereal kookiness on top of the stilted, ridiculous scenes between the men on earth. The entire film is stridently quirky. The monochromatic color scheme is initially striking, but grows repetitious until the look of the film becomes as arch and deadening as the inane dialogue. While a movie should not be expected to answer questions about life and death, any film that wants to discuss these issues needs to pose the questions in an interesting way. The only question Northfork asks of its audience is, "Isn't this all so deep and hip?" The answer is no.