This film should be rented or watched on television before you decide whether to purchase a copy of it.
Both Steve Buscemi and Sienna Miller (especially Miller) are among the finest contemporary actors - so it is almost always a pleasure to watch their work. However, this film consists primarily of over an hour of improbable and sophomoric dialogue between Pierre (Buscemi), a failed, morally-flawed (yet self-righteous) journalist and Katya (Miller), a self-absorbed, manipulative actress who, alternatively, pities and preys upon the unlucky Pierre. Through a series of interchanges between the characters, we learn (over and over) that they peddle fiction to their respective audiences and, at times, to themselves - but this is easy to pick up during the first ten minutes of the film. The rest of the film seems intent on exploring how many ways this basic message can be delivered and redelivered.
The majority of the interchanges between Pierre and Katya take place in Katya's bohemian apartment, so the film - especially with its minimalist camera work and limited space - often creates the feeling of an intimate stage play. This would be fine if the writing allowed the characters to expand beyond those limited confines and become interesting. However, both Miller and Buscemi (who also directed)are repeatedly forced to try to "emotionally charge" the alternatively petty and "heavy" dialogue that is aimed at showing, as Warhol would have put it, that each character is, in his or her own way, "deeply superficial": Imagine two actors forced to take a really good five-minute Tennessee Williams scene and stretch it out for over an hour. Mid-way through the film (or sooner), you will probably stop caring.
The silver lining in this otherwise forgettable film is the incredible range of Miller and Buscemi's mastery of quirky character. For me, this aspect of the film made it worth viewing - but only once.