Ted, a stuffy white guy from Illinois working in sales for the Barcelona office of a US corporation, is paid an unexpected visit by his somewhat less stuffy cousin Fred, who is an officer ... See full summary »
Ogden Confer is a community college student living with his parents and dealing with the recent loss of his best pal, Rose, when he foils the suicide effort of a mysterious young lady, Beth... See full summary »
A former track coach decides to train a student with natural athletic talent. Tragedy strikes right before the biggest race of his life, forcing him to confront everything that has been holding him back.
Violet and her two cohorts attempt to help their "less-fortunate" students at Seven Oaks College - primarily by running a Suicide Prevention Centre and offering their off-beat advice whenever they get a chance. Violet's newest rescue is transfer student, Lily, and Violet wants to teach her how to talk and dress properly, and how to select appropriate men to be interested in. Along their way in helping everybody at the college, the damsels teach the fraternity doofi to hit the books, they get their hearts broken, but then attempt to start an international dance craze. Written by
Numerous characters are named after flowers. See more »
[about Lily's friend]
" Zavier " with a " Z? "
No, I think it's with an "X."
No, I'm certain it's a "Z." " Zavier " Like " Zorro. " It's the same sound.
[Draws a "Z" in the air with her finger]
Zorro marked his name with a "Z."
It's an "X."
But Zorro's with a "Z." I t's the same.
Okay, let's see if we can figure this out. Used at the beginning of a name, " Z " and "X" have the same pronunciation.
But it's Zorro- with a "Z."
Actually there were two " Zorros. " One spelt his name with a " Z " and ...
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Apologies to Johann Strauss Jr. - the Waltz James P. Johnson - the Charleston Ernest 'Chubby Checker' Evans - the Twist See more »
It's clear that some reviewers "got" this film and some didn't. As always, Stillman delivers with marvelous, laugh-out-loud funny dialogue. This is so rare that that that virtue alone sets it apart from the majority of the drivel that passes for conversation in movie scripts these days. You can't tell me that there aren't some one-liners in there that you hear and just *wish* you could have uttered yourself if only you'd had the wit (Whit?).
The characters are all flawed, some lovably so, some not--just like life. You're not meant to like all of them, and it's part of the subtle, social observation of which Stillman is capable that the unlikable characters are not always immediately unlikable. Some characters learn from their mistakes and misperceptions, some do not. Again, like life.
The thing that is so winsome about Stillman's movies is that virtue always triumphs. There is a sweetness to his choice that the good always eclipses the bad. It's almost heart-achingly sweet, because we know that that is not how things usually work out, and yet you find yourself rooting for these flawed, quirky, sometimes idiotic characters to get out of their own way and allow their better natures to win the day. I've wondered for a long time about the central role of dancing in his movies, and maybe it's that when you're dancing, it's hard to do much else, and you become one with music, rhythm, and your dance partner(s). Perhaps that's what he wants for his characters--to use dance as a vehicle to get out of their own way and lead a happier, less complicated, less tortured existence.
My favorite of his movies will always be "Metropolitan," but this is an excellent new addition to his oeuvre. We've been waiting for "the new one" for a while, and now that it's here I find it a sheer delight.
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