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How others will see it. It's about a half hour too long, with the plot extended by a lunatic transgender singer and a lengthy would-be humorous first date forced between Williams and his nearly autistic dream girl, quirky Amanda Plummer.
The ending(s) seem forced, with all loose ends tied up conveniently, predictably, and happily. The veteran movie watch will notice this, but may not care.
What many viewers will want, however, isn't the romance between high-maintenance Italian Mercedes Ruehl and her disengaged live-in lover, Jeff Bridges. Viewers want to see the Robin Williams Show. He plays a madcap street person, so he gets to act looney now and then, but its because his perfect wife was murdered, so he can deserve our sympathy.
This audience of Williams fans may be disappointed. He gets plenty of camera time, but not much showtime. In other words, zaniness is limited. Bridges is the dominant character, and his major motivation (guilt) is not especially endearing.
How I felt about it. The story doesn't add up. Williams is in the occasional panic, thinking a knight on a horse is after him. Then there's babbling about the Holy Grail, and the completely unrelated stalking of an eccentric businesswomen.
At other times, he's completely sane, and is even capable of successfully going out on a date with Plummer. Since it is a movie, the date goes perfectly, and crazy man Williams is able to formulate a remarkably eloquent and completely serious unrehearsed speech to the now-stricken Plummer.
But, to drag the film out yet further, more unnecessary complications arise, which include a mental crisis for Williams and a relationship dilemma for Bridges. The former is cured by a preposterous, Batman-like break-in that remarkably coincides with an accidental drug overdose. This break-in is accomplished with supplies still hanging around the apartment basement after all this time.
The cup magically, yet predictably, cures Williams (happy ending #2), and apparently also cures the other mental ward patients, who agree to assemble like Christmas carolers to provide an appropriate backdrop for happy ending #3, the reunion of sane Williams and loyal Plummer.
Happy ending #4, Bridges returning to Ruehl, is tacked on to further pander to the audience. Happy ending #1, I failed to mention, is Bridges returning to radio (or is it cable?) glory, although the fate of his special soul was still in limbo. Fortunately, guilt, never the best motive for any behavior, compels him to brief costumed crusader adventure at the castle-styled home of an elderly architect.
The story doesn't work because the behavior of the characters is cinematic rather than natural. For example, real-life shock jocks brush off any doubts about their line of work. If fallen former teen cutie Dana Plato commits suicide after a humiliation on the Howard Stern Show, he's not going to quit his lucrative contract, and try to help the homeless. It's not good business.