Mostly unlike anything else, in mostly a good way.
Many many many moments of brilliance (example: the deft handling of the difference between clock time -- years -- and emotional time -- feels like weeks -- when processing certain life-events) marred by Kaufman's adolescent, wallowing navel-gazing. Far more interesting than almost any other recent treatment of consciousness in cinema -- but that's setting a pretty low bar.
Note to Charlie: Not only does it not have to be dire to posses gravitas, but it would actually say more (and be deeper) if it wasn't.
