A New York woman (who doesn't really have an apartment) apprentices for a dance company (though she's not really a dancer) and throws herself headlong into her dreams, even as the possibility of realizing them dwindles.
Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Jennifer Jason Leigh,
Lester is an occasional substitute teacher and he's very jealous. He is jealous about the last boyfriend of Lester's slightly wacky current partner Ramona - arrogant best-selling author ... See full summary »
Josh Srebnick is 44. He is married to Cornelia, 43, the daughter of Leslie Breitbart, a respected documentary filmmaker. The couple lives comfortably in New York Village and gives the image of happiness. But things are not so rosy as they look: on a personal level, their relationships have been cooling down while they suffer from not having children. On a professional plane, things have deteriorated as well. Josh, who is also a documentary filmmaker like his father-in-law, has lost inspiration: he has been grappling with his last movie for eight years now without being able to complete it. To be true, Josh goes nowhere and his marriage is on the rocks. Things start changing when Josh and Cornelia meet another married pair: Jamie and Darby, a generation younger, express their admiration for Josh (Jamie wishing to become a documentary filmmaker himself). Plus, they are much cooler, smarter and more uninhibited than the two forty-odds. Could they help Josh and Cornelia to revive their ...Written by
Although his face is never shown in close-up, the speaker who presents Leslie with his lifetime achievement tribute at Lincoln Center is Peter Bogdanovich, a film historian & director whose credits include The Last Picture Show (1971), Targets (1968), & Paper Moon (1973). In his real life, Bogdanovich has both presented many of these kinds of honors to film luminaries (for example, he presented Cyd Charisse's Texas Film Award to her in Austin), and been given many himself. See more »
Why is it that when one person picks up their phone, everybody else has to?
I just have a quick thing...
Each of us is so certain that we've got the most important thing to do right now.
[still using her phone]
I know, it's so rude.
See more »
Concerto In G Major For Two Mandolins, Srings And Organ (Instrumental)
Written by Antonio Vivaldi
Performed by Max Goberman, New York Sinfonietta
Courtesy of Sony Classical
By arrangement with Sony Music Licensing See more »
The Logline was (likely) a lot better than the actual film
I am imagining that the logline when this was initially pitched was something like "This is 40 with deeper, darker, insights." Or something.
And on paper that sounds really cool. The casting is also great, at least on paper. Plus, as we all know, Woody Allen has shown that these sorts of films can find an audience, and make money.
So on paper this was pure magic.
In real life? Not so much.
1. First, let's stop giving Woody Allen credit for inventing these sorts of films. He actually revived what used to a form of stage play called "comedies of Manners" and more or less built a second (spectacular) a career on that. This is a comedy of Manners. No more and no less.
2. Naomi Watts is solid, as is Seyfried. Ben Stiller, one of the most bankable stars in Hollywood, seems a little lost here, as though he can't quite find the right note for his character. Plus -- the casting director should have noticed -- he has a prematurely aged face, that is, he always looks older than he is. That does not help his character, or the audience, at all.
3.The pacing is not merely bad, it is terrible. The dialog and story in this specific comedy of Manners are not sharp enough to carry the viewer through the slow bits. Plus, it does not help that Stiller's character, who plays a "failed film-maker," loves to rhapsodize about how "boring films eventually get interesting." If that was an inside joke, it is in bad taste.
4. The only "fun" bit in the entire film? At the 1:00 minute mark precisely, Naomi Watts mimics her Russian character from Saint Vincent. I smiled. That was the only smile the movie offered.
5. In the opinion of this reviewer, the entire overlong and convoluted sub-arc about the nature of film and documentaries (what is real, what is staged? etc) must have seemed clever during the first draft, sort of a Joss Whedonesque deconstruction of the medium (like Cabin in the Woods) but, as the film plays, it simply drags down deeper a story which is already drowning in its own self-awareness and navel-gazing.
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