An elderly Margaret Thatcher talks to the imagined presence of her recently deceased husband as she struggles to come to terms with his death while scenes from her past life, from girlhood to British prime minister, intervene.
Richard E. Grant
A look at the lives of the strong-willed women of the Weston family, whose paths have diverged until a family crisis brings them back to the Oklahoma house they grew up in, and to the dysfunctional woman who raised them.
A married woman realizes how unhappy her marriage really is, and that her life needs to go in a different direction. After a painful divorce, she takes off on a round-the-world journey to "find herself".
Julia Child and Julie Powell - both of whom wrote memoirs - find their lives intertwined. Though separated by time and space, both women are at loose ends... until they discover that with the right combination of passion, fearlessness and butter, anything is possible. Written by
Julia Child and Simone Beck would collaborate on a second volume of "Mastering" in 1970; by that time Louisette Bertholle had remarried and was working on her own cookbooks. There was some discussion of a third volume of "Mastering" but Child and Beck would part ways professionally; Beck insisted on sticking to traditional techniques and equipment, and Child was enthusiastically embracing new techniques and finding ways of applying modern equipment to traditional recipes. While Child became an American TV personality, Beck continued to teach in France and published some of her own cookbooks. They were never to collaborate again but did remain friends for the rest of their lives. See more »
In the scene where Julia Child receives a letter about publishing her first book in 1961 (or earlier). The letter carrier bears a blue and red patch with a horse and rider facing left. These patches did not come into service until 1965. The appropriate patch should be a maroon patch with the horse and rider facing the right (backwards) when worn on the left shoulder. See more »
Meryl Streep continues to amaze. There's never been an actress quite like her. Her body of work is a gallery of character without parallel. After 3 decades she is still brand new. She never became a parody of herself like many other great actresses before her and, chances are, she never will. Here she recreates a popular icon, fearlessly. Her joy is utterly contagious and her side of the film is a marvel. Amy Adams, good as she is, becomes an unwelcome distraction. We want to stay with Meryl's Julia all the way. I think that Norah Ephron (Mixed Nuts) must have known, she must have! Didn't she notice in the cutting room, that we were going to be turning away from the story every time we move away from Julia Child? In any case I'm glad we had the chance to see this new Meryl Streep creation. Kudos also to Stanley Tucci. Stanley and Meryl create one of the most original believable couples in decades. Thanks to modern technology we will be able to re-edit the film for private consumption and have a sensational short : Julia in Paris.
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