Reviews

Diane Lane is the charm in this movie. Sandra Oh, as usual, is just as natural. The entire film is as easy-going as a visit with friends. The impossibly delicious actor who plays the go-between in the sale of the house with the lovely, elderly Contessa is irresistible. There is no scene, not a single one, without interest or beauty or fun. It's engaging, and very true to life. There are a few tiny places where the editing was cut a little short, but minuscule in importance. For a well-invested block of time, I highly recommend settling in for this lovely experience. So many cute chuckles, such beautiful children, cinematography to knock your socks off, even the soft touch of animals. There just is no way not to love this movie.

What's it been...39 years. But having the CD brings it all back, and I played it four times this afternoon. The funny thing is I've never liked Neil Diamond. This work in my book is the one thing he's done worthy of the awards for it. Awful conceit about the man. When it came out, I raced after work to catch the early showing, and could hardly stand afterward for how completely moved I was. I knew it would go over like a lead balloon, and it did. It was gone in no time. But boy for us writers and lovers of music. If you have the least smidgen of philosophical spirituality, you will adore the movie, the book and the music. If you have mature children, preteens or teens with high ambition, they'll hug you for it, especially cut #7, Anthem, on the CD. The album back when had voluminous notes of how Diamond went to Hawaii and mulled months over how to best do the book justice. It was nominated or won for cinematography and editing, so you know already it was gorgeous. It brings tears of joy.

Have only now seen this. Was bolted to it by its pace, quality and realism. Beyond that, you can't get bad acting out of these men; it's a literal impossibility. I was spoiled for anything less when it was over.

Some of the dialog was indecipherable for me. A lot of mumbling when depression set in. Tommy Lee Jones was incredible in his days of fast- paced thinking, and so was Ben Affleck. Chris Cooper broke my heart, and the treatment when each man took time away, alone, to absorb and foresee, was genius.

You can't do better than this movie, unless you've found yourself in this same position yourself, in which case I hope you hang on and come across an idea outside the box that works.

Kevin Bacon was incredible. See he won for his performance. But so should Christian Slater have. So should the cinematographer. Unique, inventive and incredibly creative camera perspectives. Wonderful historic background interspersed, too. Superlative effort all around. every facet of it. Scenes I glanced away from, but that's just my distaste for depiction of violence. Thought it was tenderly beautiful that Kyra Sedgewick was cast in that cameo, since Bacon is her real life husband. Slater cannot act poorly. He's incapable of it.

Everything about it, to say nothing of the theme itself. The lighting, the cryptic cutting every time the point was made without fail, the lingering closeups when humanity was the point.

I don't get HBO. It was offered free this weekend on my DirectTV dish. I stopped cold, seeing these two actors together, coming in after it had started. In my book, there's no better and more admirable actor than Jones, and Jackson is always world-class. It has enabled me to discover the writer. Being a writer, the dialogue was like a magnet. The principle argument is world-worthy. I felt like jumping for joy. Small wonder Jones and Jackson took on this movie. It will stand for all time.

I haven't researched whether this is Jones' first time as director. I expect this movie will be well-known only in the fields of philosophy and theology. It reminds me of Sam Shepard. Nothing could have distracted me, listening and watching. Like a magnet.

Overlooking the poor acting in everyone but Byington, the silly wardrobe and the slow plot, the screen writing adapted from the novel hits the nail on the head, coming to its climactic precision in the conversation between Garson and Crawford near the end. The writing in that scene from 1941, though I don't read romance novels, I would bet outshines any similar effort in any romance novel since. It's intricate, well-woven, and so comprehensible it resonates.

The author of the novel, I learned here at IMDb, has many other works. That doesn't surprise me.

There were snatches where both Garson and Crawford were good, but they were just moments. Taylor and Marshall left a lot to be desired, but Byington was adorable as usual, as the flibbertigibbet. Even when she overdoes it, you know better is coming fast.

Nor could they have cast anybody better than Elaine Stritch.

Beautiful in every way -- the cinematography, the music, the patience of the direction. You could feel the ease Gere and Ryder felt. They were allowed their best selves. The portrayal was wholly believable. There was exquisite nuance and not an iota of artifice, not even one.

This was an experience in true life portrayal; genuine, and somehow dug down to where we all really live, especially Gere's transformation, Ryder's delicacy in one particular scene, and Stritch's hallmark capacity for authenticity.The actor playing Gere's best friend was just as commendable, the actress playing the daughter, and the feel about the medical rush. I haven't checked yet who did the casting or cinematography or music or direction, but this movie is put together with world-class people.

There is an element of deep reality throughout that rings true.

Formulaic, badly directed, slow, and not even well-acted. Listless. We know Angelina is flat dead gorgeous, but directing the camera to her inanimate face again and again makes the whole movie feel off-Broadway. Could not believe my eyes. Depp looked horrible throughout. The most vivacious actor was Paul Bettany, but the poor thing was totally unaccompanied in his effort.

I saw the press about Jolie and Depp not getting along on the set, but who knows what to believe. Then Depp appeared on Letterman to promote it, and told about having to keep Jolie's huge dog throughout the shooting.

This movie made me feel taken, like they were in cahoots with what they're worth just to go through the motions.

This is a great movie for all brave souls. It hits the midlife crisis square between the eyes. You notice the nuances going along, the satire tickles you, and it lingers with you afterward. My favorite symbolism is her tightly permed hair in the beginning with her loosely natural hair at the end, and how her makeup becomes less severe. How she handles the restaurant owner when he doesn't know she's listening is pure grace.

So many differences from Hollywood movies; the way she dresses, first, with no thought given to covering her less attractive features. How naturally she handles herself in the partially-nude scenes. Again, the word "grace" comes to mind. Maybe the Summary line above should say "grace".

If it weren't for that fingernails-on-a-blackboard repeating harmonica, I'd have completely raved with a 10 hands down, especially the scene when Cardinale is packing in the dark bedroom: on the soundtrack, its title, A Dimly Lit Room. This movie made me find Ennio Morricone online. I was shocked how many movies he scored.

As I remember, I read that Henry Fonda was dubious about taking this role, casting him with his first role as villain. My favorite character is the one Jason Robards played.

Someone has already said here that this is the best Western ever made, and thinking back to the scope of it, the sheer enormity of how the backgrounds and landscapes were shot, it is indeed an experience to see it, not just a pastime.

Though Kline and Scott-Thomas are the leads and show their chops that made them stars, Christensen shines so brilliantly that his talent is breath-taking. Each role is so well-portrayed that you're completely comfortable understanding the plot. The movie is challenging, thought-provoking, and intensely human, well-worth the attention of men who may presume that it's a chick flick. The action and adventure is in the challenge to deal with the plot. It's gut-honest, everyday life, involving situations we all deal with: intent, marital disharmony, second-guessing decisions we made, seeing the light, and desperate substitutes we use to deflect pain.

I am a fan of so many of these actors that I was delighted, channel surfing, to come in something after the beginning. James Madsen! Where can you find him anymore in a role that isn't violent, after Thelma and Louise? Virginia Madsen? She's always struck me as authentic. Mary Stuart Masterson, last I saw her was Fried Green Tomatoes, and she's just as world-class here. Jim Belushi -- this is his best role yet. Hal Holbrook broke his stereotype in one fell swoop.

The meat of this play is how well it transferred to film. The ease of these -- some of our best-- actors makes it palpable. It's subtle and stark, such honesty that other movies approaching this caliber pale.

I can't recommend it highly enough.