A widower whose book about coping with loss turns him into a best-selling self-help guru, falls for the hotel florist where his seminar is given, only to learn that he hasn't yet truly confronted his wife's passing.
Mike works at his parents' motel in Kingman, population 27,000, on old Route 66. Sue sells art for a Baltimore firm to corporations for office walls. He takes one look at her from behind as she registers at the motel and determines to connect. He's sweet, but hapless, with no ambition other than spending time with her. She's enigmatic - rarely smiling, occasionally impulsive, committed to helping homeless people, feeling the clock tick after a breakup with a boyfriend who could have provided security. Is there any way he stands a chance with her? What can he offer? Written by
A Catholic priest in Portland, Oregon, received an invitation to read for a scene involving a priest, while filming occurred in that city. A Portland-based member of the casting department told him that writer/director Stephen Belber was unsatisfied with the readings and characterizations that auditioning actors had been giving for the very brief lines in the scene. The casting department told the priest they found him through a random Internet search, yet he happened to be a serious film buff (for instance, he has an IMDb account). He had even hoped that someday he might get a bit part as a priest in a film. But he declined the invitation to read for the part in Management (2008), after seeing the script of the scene in question and learning more about the film's storyline and about some of its other content. A modified version of the scene - without a priest - is in the film. See more »
In the hotelroom is a wine offered as hotel-present. The bottle of white wine (which is drunk without any cooling) is almost empty after only two little glasses. See more »
"Management" isn't necessarily a bad film -- I just found it entirely disengaging. Judging from some of the early feedback, I was expecting a sweet (if predictable) "indie" romantic comedy. I'm not a big fan of Jennifer Aniston, but she plays her types of roles well enough, and Steve Zahn proved with "Rescue Dawn" that he's an underrated actor.
My problem with "Management" is that it plays into the quirky subgenre clichés far too easily. I'd bet the director is a big Hal Ashby or Mike Nichols fan -- this comes off like an uneasy mix of "Harold and Maude" and "The Graduate." Its protagonist is a borderline stalker.
That's not inherently negative, but I just felt like there was no real spark between Aniston and Zahn. The whole thing felt very...calculated. It wasn't naturally offbeat -- and, as a result, I was left wondering why we're supposed to feel any type of entertainment in watching these people.
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