How important is the truth when falling in love? Bella is a Manhattan café waitress, about to turn 35, stuck in a long-term affair going nowhere. Paul is a widower, facing old age alone. ... See full summary »
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Zachari Michael Reynolds,
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Andrew C. Erin
William Gregory Lee
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How important is the truth when falling in love? Bella is a Manhattan café waitress, about to turn 35, stuck in a long-term affair going nowhere. Paul is a widower, facing old age alone. Bella's mother sets her up with Bruno, a novelist/cabbie who likes to bed-hop and whose ex-wife expects their two children to stay with him for awhile. While Bruno learns some maturity from his young daughter, Paul answers a personals ad placed by a "widow, 60." The two couples - along with one of Paul's older pals and a Jungian stripper - sort out how to initiate a relationship these days, what to do when someone you like disappoints you, and when to tell the truth. Written by
OK, OK... that pun is pretty lame I admit, but no worse than some of the attempts at humor in this film. Which is actually not to say that this film is completely terrible. It isn't, not by a long shot. But it just isn't that good either. I actually enjoyed Amos Kollek's earlier film "Fiona" quite a bit (and I would still be very interesting in seeing his film "Sue"), but this was really nothing like that gritty, slice-of-life, documentary-style film. This was more of a quirky, almost sitcom-ish comedy. To Kollek's credit, this predates the whole quirky indie trend by a few years, so it doesn't quite have the same pre-meditated feel as, say, "Me and You and Everyone We Know", however it has a lot of the same problems as that film did. None of the characters seem at all real, and everything they do or say feels completely scripted to be "witty" or "quirky" (and is only sporadically funny, although at least it is, a little). The whole film gives off a decidedly no-budget feel, with very primitive camera work and often amateurish acting (despite the presence of Louise Lasser), which in and of itself isn't bad, since at least it doesn't have the studio gloss of most recent similarly-minded pseudo-indie films. If anything, i give the film a little more credit than it probably deserves, just for having such a run-and-gun, no-budget feel. I did like the choppy, rough editing, for purely aesthetic reasons. Also it deserves some credit for not having too much of a plot (except towards the end), and a good unhurried pace.
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