Elizabeth's heart is broken. For solace, she drops in late at night a few times at Jeremy's diner for blueberry pie a la mode; they talk. Once, he watchers her sleep, her head on the counter. Abruptly, she leaves New York City to get away from her pain. She works a couple of jobs in Memphis. There, a heart-broken cop is drinking himself into oblivion, his ex occasionally showing up where he drinks and Lizzy works. Then, she's in Nevada, working at a casino where she uses her savings (she wants a car) to stake Leslie, a busted gambler, in a high rollers' game. After, Beth drives Leslie to Vegas where Leslie's estranged father lives. Broken relationships. What about Jeremy?Written by
Natalie Portman and Jude Law would collaborate again in Vox Lux (2018), though in this film, they share no scenes. See more »
When Sue Lynne has one final confrontation with Elizabeth at the diner, she pays Arnie's tab and says "don't forget about him" but her lip movements don't match the words she's saying. See more »
Why do you keep them? You should just throw them out.
No. No, I couldn't do that.
If I threw these keys away then those doors would be closed forever and that shouldn't be up to me to decide, should it?
I guess I'm just looking for a reason.
From my observations, sometimes it's better off not knowing, and other times there's no reason to be found.
Everything has a reason.
Hmm. It's like these pies and cakes. At the end of every night, the cheesecake and the apple pie are always ...
[...] See more »
The opening credits play over melting ice cream drizzling over blueberry pie, while the font is blueberry colored. See more »
Performed by Chikara Tsuzuki
Written and Arraged by Shigeru Umebayashi
Courtesy of Polystar Co. Ltd.
Published by Emotion Co. Ltd. / Fun House Music Publishing Inc.
Internationally administerd by BMG Music Publishing See more »
This is a film of contrasts. A good story let down by poor dialogue; some great acting as well as some mediocre and good direction marred by irritating and indiscriminate "motion blur" filming.
The film has the elements and sometimes the feel of a charming love story, a modern-day fairy tale. The gentleness and innocence of the two main characters is in sharp contrast to the world inhabited by the secondary characters, where addiction to alcohol, gambling, desperation and suicide are the order of the day.
Jude Law as Jeremy seems to have lost the plot. His half-hearted attempts at a Manchester accent are woeful. Why bother with the accent anyway? He is a coffee shop owner in NY, and his origins have no bearing whatsoever on the storyline. However, his natural charisma and his gentle demeanour do suit the role, and he pairs well with Norah Jones as Elizabeth.
As for the flaws; is there ever total silence outside in the street in NY at night? And would customers really give their house keys to the person behind the counter in a coffee shop, to be kept in a glass jar? And would customers ever be known not by name, but by what they eat? And is there anyone in Manchester actually called Jeremy? As for Norah Jones, although she is on screen for most of the film, she does not have a lot to do or say which is just as well really. She spends most of her time watching in silent, doe-eyed admiration, as she is given a master class in acting by the "real" actors.
The *real" actors here are David Strathairn and Rachel Weisz. Strathairn gives a memorable, finely crafted performance as Arnie, who is a cop by day and an alcoholic barfly by night. Rachel Weisz as Sue Lynne his beautiful, wild, estranged wife makes full use of her short time on screen to create a wayward, tumultuous character at once sensuous, and sensitive. Between them they steal the show.
But gripes aside, the director does manage to create an appealing, if flawed, film. It's a mixed bag. It's good in parts.
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