As with most cult films, You're a Big Boy Now is definitely not for all tastes. Some will find it tedious, annoying, and empty, a technical exercise turned loose on a vapid story. Others will treasure it as a time capsule of 1960s filmmaking, extolling it for capturing the freedom of the times and for its youthful freshness and vigor. Both sides are right, for the young Francis Ford Coppola's experiments with editing and camera angles have an invigorating liveliness, but they also draw attention to themselves at the expense of telling the story. (Yes, sometimes the manner in which the story is told can be the story, but that's not the case here.) The screenplay is disjointed and sloppy, which is both endearing and irritating, and the film alternates between sequences that are spot on and others that are far off the mark. Still, several segments (Julie Harris and Rip Torn in the vault, the delirious climactic chase) are excellent, and if Peter Kastner is too bland in the lead role, the supporting cast is exceptional. Special praise goes to Torn, Harris, and Geraldine Page, and Elizabeth Hartman is quite good playing against type. Dated and at times silly, Big Boy has a youthful charm that most will find hard to ignore.