Aurora and Emma are mother and daughter who march to different drummers. Beginning with Emma's marriage, Aurora shows how difficult and loving she can be. The movie covers several years of ... See full summary »
James L. Brooks
Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her daughter, Elaine.
New York City. Melvin Udall, a cranky, bigoted, obsessive-compulsive writer, finds his life turned upside down when neighboring gay artist Simon is hospitalized and his dog is entrusted to Melvin. In addition, Carol, the only waitress who will tolerate him, must leave work to care for her sick son, making it impossible for Melvin to eat breakfast. Written by
Jon Reeves <firstname.lastname@example.org>
Udall's response to the question about how he writes women is an actual response given by author John Updike when asked the same question. See more »
When Carol pulls over Melvin's Saab convertible so she can get the full story from Simon the top is up when she pulls over. In the previous scene it was down. There is no way the top could go up at in that short amount of time, and not at the speed she was traveling at, without damaging it. Also, they pull over next to an iron gate with a stone base; although the base of the wall is as high as the car when it pulls over, the gate itself can be clearly seen at eye level during the interior car shots, as can a tree or what might be a stone divider in the gate that is not present as the car pulls over. See more »
Just after the disclaimer of the American Humane Association (The animals used in this film were in no way mistreated...) there is a second disclaimer stating "The actors used in this film were in no way mistreated." See more »
How to create something out of nothing? Ask Mark Andrus and Jim L. Brooks
Really, how to make something original, fresh and odd out of absolutely nothing except a few characters? Using characters, only characters and nothing except characters. That's the simple formula Brooks uses in all of his work, but, for me, he has never created so much charm, warmth and sensibility as he did in `As good as it gets'.
Characters write the screenplay in this movie, and everything that happens - happens because of what they are. They are nothing special they are ordinary people we meet in the street every day and that have the same problems a lot of other people have. This movie presents the example of how much you can pull out of that. And if that is written as well as it is in this case, not even a happy ending can bother you. Because, in real life, shown here, what is the end?
Everything is good and warm in this movie, everything is fresh and vivacious, understandable and well performed. Jack Nicholson brings one of the best performances of his career, that terrific Helen Hunt finally got a chance to show how skilfully an actor can connect naturalism with the laws of the camera performance, and Greg Kinnear shows the most convincing emotions coming from a gay character I've ever seen.
The relationships between the characters are created in the way that you can't predict anything that's going to happen, eventhough you know in advance what could come out of their mouth and what kind of attitude they'll have in a certain situation.
You can simply feel the progressive collaboration that occurred between Brooks and the actors and the mutual understanding they developed, and it's not often that you see that kind of artistic superstructure shining on the screen so much as it does here.
I find `As good as it gets' complexed, vital, intelligent, emotionally deep and studied, fresh, original, amusing, cheerful, funny, and one of the best films of 1997.
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