Barry begins the commentary well enough and the information he gives is very much from a technical standpoint.You do feel as if you have learned something after listening to him.
However, the downside is that he does tend to stop talking and you feel as if there is something happening onscreen which deserves a good explanation. These silences do grate after a while and sometimes you wish he would just SPEAK or COUGH or do something to let you know that he's still with us.

This commentary is frustrating and not just from the short bursts of information. Within those short bursts are often brief thoughts that are not extrapolated on, and are exasperatingly unexplained. A missed opportunity. My impression of these three commentaries is if they had been edited into one it would have been a doozy (ie. very good). 4/10

This commentary is frustrating to listen to. It starts and stops too often and feels disjointed, arbitrary and incomplete. There are great moments that make it feel more frustrating because you can't write it off so easily and just stop listening. Instead it ends up being a form of torture for those who love good commentary.

Baz hasn't seen the movie in a while, so he watches it and talks sometimes.

Not as bad as people make it out to be. The silence gaps are the only problem.

Morrow is only occasionally scene specific, with increasing gaps as the film plays on. He speaks about a feelow named Kip, who was the real-life influence for the Raymond character. Morrow had also written a similar film called BIll, starring Dennis Quaid and Mickey Rooney. He documents the road to production, how the film bounced around between studios and crossed paths with Forrest Gump and Midnight Run along the way. He reveals some of the various casting choices before the ages of the characters were tweaked. He mentions how he was replaced on the film when director Martin Brest moved on, and how the film was impacted by the writers strike. He notes some of the corporate reaction from Qantas he received and muses about what Kmart must have thought. He shares some of the reactions the film received at the time and its lasting impact on audiences. The film even affected the life of the aforementioned Kip, who went on a road tour with his father and took part in speaking engagements with the Oscar won by Morrow and Bass. Morrow also has an Academy Awards anecdote.

It takes almost 30 minutes before Bass becomes scene specific, then he has a greater tendency to be silent. Bass talks about taking over for Morrow, who we never met until they were on the awards circuit. The film cycled through 4 directors, starting with Martin Brest, then Steven Spielberg, briefly Sydney Pollack, and finally Barry Levinson. He notes some of the changes to the script that he made and what was changed after he had to stop working due to the writers strike. He points out some unique beats that match the style of Levinson, and recalls some of who was responsible for certain lines. He consulted his sister, a medical professional, for insights about writing an autistic character. Bass outlines the character arcs and themes for the film, and shares some of the reactions from audiences and critics. He had previously written about counting cards and also conducted some research into that element of the film. His Academy Awards anecdote does not overlap with that of Morrow.