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Director Nancy Meyers, in her third effort, SOMETHING'S GOTTA GIVE, cements
her place in a sisterhood of gifted directors (Penny Marshall, Nora Ephron,
Elaine May) who truly understand men, and can create a 'chick flick' that
doesn't caricature our endangered species! Her previous effort, WHAT WOMEN
WANT, not only gave Mel Gibson the most 'well-rounded' comic role of his
career, but revealed a talent in song and dance that Gibson had never
previously demonstrated (with the revival of musicals, one can only hope
that Mel will get a shot at displaying those talents again).
With SOMETHING'S GOTTA GIVE, Meyers turns her magic to 66-year old screen legend Jack Nicholson, creating a character that more fully exhibits and explores his famous persona than any other film "Smilin' Jack" has ever made...and even takes him to task, occasionally!
Even more impressively, she gives Diane Keaton, at 57, her finest screen role in years, and reminds audiences that actresses don't HAVE to be under 30 to be desirable, with a character who is wise, funny, vulnerable, and...dare I say it...still enormously sexy!
The story involves a planned weekend tryst between a young Christie's broker (Amanda Peet, in another of her recent 'star-making' roles), and famous record producer Harry Sanborn (Nicholson), a wise-cracking, worldly Lothario in sunglasses, famous for never dating a woman under 35. At her mother's empty beach house, their liaison is interrupted by the arrival of her mom, playwright Erica Barry (Keaton), and her aunt (Frances McDormand, who is fabulous, firing 'robbing the cradle' one-liners back and forth with Nicholson). Despite a tacit agreement to share the house, Harry is so stressed that he has a heart attack during foreplay, saved only by Erica's reluctant CPR. At the hospital, she meets handsome surgeon Keanu Reeves, who is a fan of her work, and is immediately smitten by her.
Ordered by Reeves to recuperate at Barry's home, Sanborn gets to accidentally see her naked, and gradually discovers the infinite pleasures of 'older' women, while Barry, resigned to being alone, rediscovers her sexuality and ability to love. Unfortunately, 'love' is NOT a word in Sanborn's vocabulary, and, confused by his emotions, he returns to his party life in New York.
Devastated by his departure, she begins an affair with the young doctor, and turns Sanborn's visit into the basis of a play (with her achieving 'closure' by killing his character off!) Her actions put Sanborn BACK into the hospital again, TWICE, before he realizes the full impact she has had on him...
Can Sanborn learn from his mistakes? Will Sanborn and Barry find happiness together? Will the pair make the Paris rendezvous they planned when in the heat of passion? Can Barry give up her turtlenecks, and Sanborn, his Viagra?
Full of witty observations about facing "life after 50" (with menopause presented, for once, in a favorable light), SOMETHING'S GOTTA GIVE is a wise, funny testament about 'growing up' without 'growing old', underscored by classic French tunes (the French, after all, understand the ageless nature of love far better than more 'youth-driven' Americans).
While the film won't have you yearning for your 'golden years', it may help some 'over-50' viewers feel less depressed about no longer being 35!
If for that alone, Nancy Myers deserves a Valentine!
It's bad enough this movie is as stupid as it is predictable, but its worst fault is it's simply not funny. Half way through, when I had finished eating my bag of popcorn, I made way to nearest exit. What a waste!
This has got to be one of the worst films I have seen in a while. I was really looking forward to seeing it, I'm a big fan of Jack. It seemed thrown together (continuity errors all over the place), the script was just AWFUL and Diane Keaton was over-the-top. Stay home, do yourself a favor and just rent "About Schmidt" and "Annie Hall."
*** This review may contain spoilers ***
When older guys (those who aren't rich & famous like Jack Nicholson,
that is) want to believe that they are still attractive to hot young
women, they go to places like strip clubs or ' Hooters ', & indulge
their fantasies, at least as long as their time & money last. Yet
deep-down everyone knows that it's all just a temporary illusion.
But when angry aging feminists want to believe that they are still attractive to younger men, they write/direct/star in/support movies like 2003's ' S.G.t.G. ", in which they too can temporarily live out their own fantasies.
In reality, however, no man with a heartbeat would EVER willingly choose to be with a 2003 version of Diane Keaton, over a 2003 version of Amanda Peet (who is hardly A-List fantasy material herself).
Now perhaps in the big picture, this reality is somewhat unjust.
But, as the old saying goes, Life's Not Fair.
Yet these angry aging feminists are so incapable of accepting this reality, that their only recourse is to try & project their absurd & desperate wishful-thinking forcefully enough, so that someone else actually buys into it.
And before anyone bares their fangs & claws and bites my head off, just please answer me this one question:
Back when Keaton was at her peak, both in terms of her looks, and her popularity, and was starring in hit films opposite Hollywood's top male stars of that era (Al Pacino in ' The Godfather ', Woody Allen in ' Annie Hall ', Richard Gere in ' Looking for Mr. Goodbar ', Etc.), can you please list for me just ONE (1) time that she herself played a character who lost her leading man to an older woman???
-I Didn't Think So.
So let's please not be hypocrites here, ladies...
*** This review may contain spoilers ***
The equivalent of porn, except here the bouncing buttocks and close-ups come in the form of privileged, disgusting old people yuppies who behave like hormonal teenagers, struggling with their sex and relationship issues. To see Diane Keaton play such a twitchy, desperate, unintelligent woman alongside Jack Nicholson's creepy 60-something lech--who is supposed to be cute--then expect the audience to celebrate their whiny asses falling in love? Enough to make teenage girls commit suicide at the thought of getting older. A wretched airplane movie that confirms that director Nancy Meyer is not only anti-female but the Antichrist.
The basic premise of this movie sounds like the exact opposite of a cliché. An old guy and a younger woman fall in love? A tried-and-UN-true formula. But here is a movie in which the older guy (played by Jack Nicholson, big surprise) and the younger woman actually start out together, THEN the old guy falls in love with a woman... who is almost his own age?! And the mother of the girl he has at the beginning, no less? Now, the instant I heard the premise of the movie, I immediately thought: "This will either be a unique, touching, revolutionary masterpiece, or a politically-correct feel-good cornball, depending on the writers and director. Well, I might as well check it out, just to find out." I checked to see who the writers and directors were. Then I saw that the movie was written and directed by a woman. Very good sign there, although I had never heard of Nancy Meyers until I saw her name on the back of the DVD case. Now, I started out thinking that this was either going to make me laugh and touch my heart, or make me roll my eyes. Somehow I wouldn't have figured on both. The movie does all three of these things. It seems in all the dialogue in the whole course of the movie, there is one pretty bad joke, then one really good one, then a tired one, then a great one, then... and the same goes for the scenes and shots. There's one overall hilarious scene, then one pretty cheesy one, then one really touching scene, then one corny one, then... well, you get the idea. Sometimes a scene was consistent, sometimes I couldn't keep track of how many times I changed my opinion of the scene, and the movie in general. Now, movies (especially comedies) aren't ALL about dialogue. Sometimes the little details (body language, cinematography and so on) can make or break a movie. And I think that was what made this one for me. Nancy Meyers sometimes has a problem with dialogue, but she CERTAINLY knows how to get comedy out of the "little details." I'm not just talking about the physical humor (which is excellent, above-par for any romantic comedy, let alone one with Jack Nicholson), but Meyers also knows how to use cinematography and editing to their own comic potential (I laughed very hard at the long shot of the hall after the I'm scene, where they appear at opposite ends of the hall, looking scared). Overall, I think Meyers could have gotten a little help with the screen writing (don't be afraid to ask for help), and the casting decisions were dodgy at best. But, I think somehow, after stumbling numerous times, the film managed to somehow stay on its feet and limp to the goal. 7/10
the idea for the movie is great. thats where it ends. this movie reminds me of a book that the author was paid by the word. while making the movie they had to extend the script and entered pages someone who ? added to fill for time. cut about 40 minutes out you have a great movie.
*** This review may contain spoilers ***
I think it was good experience for Amanda to be near of those Hollywood
stars but the movie by itself is behind its expectations.
The idea to show romance at sixty is original but translated in Hollywood language, it's become dull and hollow :
if we see their naked parts, the movie is too prude to show them actually having sex and above all, as usual in American comedies, the characters live in an ideal world, faraway of our daily lives : Nicholson is a rich music mogul and Keaton is a famous writer. Amanda works at Christies and Keanu is a doctor. Do they know about blue collars, secretary, getting up at 7 :00 for a 8 hours shift? The first part (the more interesting) happens in a sea mansion (funnily toured by Amanda in the extras) that the audience could never afford even after a entire life of work.
So, in spite of some good lines, i got my usual reaction : What's the point ? How do they want me to be interested in the lives of such spoiled people ?
The second part of the movie is the usual love/hate/rejoice path of any Hollywood romances so there's isn't any originality. The climax in Paris is laughable : we don't see the city that much and as usual, Hollywood reconstructs the reality : in no way, you have a luxurious hotel so close of the Eiffel Tower (I live there !). However, the choice of the City Hall bridge is a good one because i remember to have also shared a romantic moment there !
In conclusion, it's full of clichés told by pretentious stars that success and money have cut from their humanity.
This is really quite a funny romantic comedy, mainly because of an outstanding performance by Diane Keaton as Erica Barry, a wealthy and successful playwright, who is divorced from her husband and, although lonely, apparently satisfied with her life. Along comes Harry Sanborn (Jack Nicholson), an older man who is romancing Erica's 30-year-old daughter, Marin (Amanda Peet), who has a heart attack while at Erica's lavish beach home in the Hamptons and who is told by emergency room doctor, Julian Mercer (Keanu Reeves), that he must remain in the Hamptons, not return to New York City. Erica and Harry have a spectacular sexual encounter that shakes Erica's foundations and that leaves Harry suddenly vulnerable in a way he's never been before. There are subplots -- in particular, an unlikely romance between the much younger Dr. Mercer and Erica and the opening of Erica's new play which is basically about her relationship with Harry -- but the looming question is whether Erica and Harry will eventually get together. Keaton is really quite wonderful, especially after Harry walks away from romance to return to his habit of bedding much younger women. She is crying regularly and at the same time laboring intensively on her play, breaking into laughter which quickly turns to tears. Jack Nicholson plays a character he has played many times before, but it has earned him a lot of money and he has the part down perfectly. Amanda Peet and Keanu Reeves are props but they are gorgeous props. Frances McDormand, as Erica's sister, a professor of women's studies, makes a more significant contribution but she is on the screen only briefly. Credit Nancy Myers for both writing and directing this fine film.
*** This review may contain spoilers ***
PLEASE NOTE, THIS COMMENT CONTAINS SPOILERS I think we can establish
from most of my posts that I am biased, as I am a huge fan of Jack
Nicholson, but let's put that aside for now and I'll comment on how
much I truly loved this film. It was so different from other rom-coms
I've seen in that it wasn't about two young people falling in love, but
two older people who think they're past their prime but find love with
each other anyway.
Jack is playing himself in this (love it!) as Harry, an ageing casinos with an eye for the younger ladies. Cue much of his eyebrow action, husky voice and killer smile. Diane Keaton is the unimpressed, sarcastic mother of his latest younger girlfriend-and right from the word go the chemistry is sizzling! What I liked about the film is how the relationship between Erica and Harry went from extreme dislike, to disdain, to confusion, sex, and finally true love. You could completely identify with Erica in that she's divorced, has one grown-up daughter and spends her days (and nights) sitting at home writing successful plays but not really doing much else except maybe spending time with her sister. When Harry comes on the scene, once over her initial disgust at a 63-year-old man dating her 29-year-old daughter, she begins to become interested in him, and that's where the fun begins.
There are so many hilariously funny moments in this movie, moments where I can truly say I've laughed out loud-particularly the 'I was looking for the bathroom!' 'BACK HERE?!' moment. The interaction between Harry and Erica (and the brilliant acting of Nicholson and Keaton) is both touching and funny throughout the whole movie, and the sexual tension between them is what keeps the film the fabulous film it is. Keanu Reeves makes a great addition as the doctor besotted with Erica.
What I loved most about it was the fact I identified so much with Erica. She was in love with this man who just couldn't be in a relationship with her and she was so devastated she spent her days in floods of tears. (the crying scenes were my favourite scenes in the film, I was crying myself with laughter!) but also I was thinking, 'We've all been there.' The magic of this film is its unpredictability. Things happen in which you think that Harry and Erica may not get together, and you end up wondering whether Harry will end up alone. Will he finally accept that he just can't be that picky anymore and go for the woman who he truly wants in his heart but is too proud to admit it? Wonderful film. I was a bit dewy-eyed when the credits rolled.
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