A depressed woman learns that her husband was killed in a car accident the previous day, then awakens the next morning to find him alive and well at home; then awakens the day after that to find that he's dead.
A documentarian decides to follow the career of New York actress Lisa Picard, believing she is on the brink of fame. Instead, he bears witness to Lisa's continued, humorous, struggles as an... See full summary »
Emily tells her son Paul, now six years old, the story of his life - how she sought motherhood, to be a mom without a husband, to raise a perfect, exceptional child, whom she calls Loverboy. In flashbacks told around a pretend car trip they take - so he can practice driving - we see Paul's infancy, their fun together (sometimes with a manic edge), and his growing desire to go to school and be with other kids. We also flash back to Emily's childhood, with parents so bound up with each other that she's virtually ignored. Is Emily going to be able to let Paul be with others? Or, can she, as in the David Bowie song she sings at a school talent show, construct a life on Mars?Written by
Fitting in with the outside world, respectability, suitability, conformity, were never high on my priority list; neither was normalcy. I admit: I cultivated arrogance. The world would be our school; I wanted to learn it and teach it to you.
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Thoughtful premise looses energy through repetition
Interesting though thematically bludgeoned "family" film detailing the singular obsession Emily (Kyra Sedgwick) has for producing and raising her very own child. While layering a good amount of light-hearted humor into the affair, the movie is undoubtedly subversive in the process of relaying so many well meaning points. The unique material will most likely find an audience with females, and mothers in particular, having much less of a hold on the opposite sex. Although this material is presented in a somewhat compelling manner through the textured workings exuded from Segwick, the novel that this was adapted from clearly lost something in transition, from the competent though unimpressive pacing that stretches some time periods out too long- yet feels way abridged in others, to a just plain unfortunate air of mediocrity found throughout the production values. Not helping things much is Loverboy himself, played by an adorable, but immature Dominic Scott Kay, who crushes some of the realism with his performance. Even as original and interesting as Segwick's character seemed, I became less interested as the character became caricature, displayed through the eventual predictability of her unpredictability. While it was every intention of the film to associate this character with those attributes, what should have been her son's perception of her, ended up being mine as well, which somehow negated all of Krya's quieter, and effecting moments. Bacon himself deserves a job well done for an admirable debut behind the lens (except for not getting more damn re-shoots of that kid!), offering decent direction and a funny little role to boot. The script's insistence at repeating itself does grate a little but fortunately the themes do hold water in this one, although primarily for women and in a non-direct, after-effect sort of way, due to the sensitive though underdeveloped screenplay.
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