Groundhog Day (15th Anniversary Special Edition) (1993)

I'm going to forego a review of the movie. Let others do that. Here's my input on the bonus stuff:

What's good:

"The weight of time" documentary What makes this documentary somewhat unique, is that it allows the screenwriter some screen time to convey what his vision of the movie would have been. It's a gutsy move that Ramis allowed this on his film, since the original concept of Groundhog Day was far darker than the final product. It's an interesting watch, although it would have been nicer if Bill Murray made an appearance in the documentary.

Director's commentary: Ramis' approach is to tell small anecdotes about minor characters, how people were cast, how the scenes were filmed, etc. It's interesting and entertaining in its own right. He doesn't just drone on and on like many directors do. I think his acting and comedy background helps make him be more interesting, personable, and accessable for viewers to listen to.

What's lousy:

I'm probably alone on this, but the animated menus are annoying, silly, and slow. You have to wait for the animation to get going before you're allowed to make your choice. It'd be forgivable if there were any easter eggs hidden, but I know of none. So, it's just annoying.

I might be making a bold claim saying this is the best Bill Murray film of them all. Many people would call me on that with films that showcase his sophomoric hijinks like Stripes or Ghostbusters. Some may look at his more slightly more refined character works like What About Bob? and Scrooged as their hits. To me Groundhog Day tops them all. This is because not only do you have Bill Murray doing a perfect performance, but also because the content itself (and the writing behind it) takes this movie to the next level.

Groundhog Day is a morality piece done in the vein of a classic Rod Serling's Twilight Zone episode. I kind of "what if...?" sort of tale that puts a generally successful and selfish man (played by Murray) into a hopeless situation of never being able to escape a single day in a small town. On the surface the story it looks like a situation comedy with Murray's character living the same Groundhog Day over and over. However the further you go into the movie you get some true and believable character development. The fact Bill pulls it off convincingly as well as with his classic entertaining wit is what makes the movie shine.

Don't think of the movie as just some lesson to learn and take with you. While it does have that they don't preach it to you. You figure the lessons out along with Phil (Murray), and that makes for a rather deep experience. The movie at its core is a comedy, and it's such a good comedy it's rating among the top comedies of all time by various film associations. It's not just a comedy either as it also has a healthy dose of romance in it. So much romance that it can pass off as a "chick flick" for those who are into that. So I guess you can say Groundhog Day is a romantic comedy/Twilight-Zonesque/morality play.

The other actors do great as well, including co-star Andie MacDowell, supporting actors Chris Elliot (as the cameraman), Brian Doyle-Murray (mayor of the city) Stephen Tobolowsky (old high school associate) and others. The movie was directed by Murray's cohort in Ghostbusters and Stripes Harold Ramis, which makes me wonder if the role was made for Bill. Production itself is very solid. You won't find it winning awards for costumes, sets or special effects. At the same time you won't find any production values detracting from the story; they only serve to enhance it.

This 15th Anniversary Edition will be digitally remastered (overseen by Ramis himself) and will include a host of special features including:

Commentary by director Harold Ramis (not sure if it's a new commentary or if it will be the same commentary from the last Special Edition DVD)

The Study of Groundhogs: A Real Life Look at Marmots

A Different Day: An Interview with Harold Ramis

Making of Documentary

Weight of Time documentary

Newly discovered deleted scenes

The Weight of Time documentary was in the Special Edition DVD, but aside from that and the commentary this DVD has all new special features. The fact there are deleted scenes on this edition is enough to make me very curious on what we missed.

This movie is a must have. Any Bill Murray fan should be required to see this movie. As far as which version to get I would say the 15th Anniversary Edition, at it is the best bang for your buck. If only they didn't use such an overly airbrushed picture for the cover. That is about the only thing about this DVD that stinks.

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I'm a die-hard movie junkie and can say without reservation that this movie is among the most hilarious ever made.

The very simple story is one where Bill Murray plays a self-consumed, hyper-cynical, and arrogant weatherman with a mean streak who finds himself paying out some sort of karmic debt by having to live through the same day (Groundhog Day) again, and again, and again, and....

The phenomenon strikes him with terror (few play "overwhelmed" better than Murray) at first, which is very funny material, but it's when he becomes accustomed to his seeming immortality and liberty from consequence that things really get unbearably funny.

This movie is fantastic in that it can be watched casually, as it's chock full of slapstick style entertainment (no offense to Bill Murray, but just looking at his face makes me laugh, great expressions...); but what really endeared this movie to me was the lesson I think is wrapped up in all the humor. I think the movie is about "appreciation". Appreciation for the value of every days potential (I know that sounds cheesy), appreciation for those around you that so easily fall into the background from all the noise of our environment, but most of all, appreciation for the difference between doing the right thing and the wrong thing. This movie smartly creates a "clean A/B lab". In the first lab, you have a bunch of failed attempts to create the perfect day. And finally, all those attempts are contrasted against the control group...a perfectly lived day, one where all the latent opportunities we don't even see are exploited...

And what a difference a day can make.

I hope you enjoy as much as I did...

Read Best Reviews of Groundhog Day (15th Anniversary Special Edition) (1993) Here

"Groundhog Day" is a movie that's aged really well in the past nine years, and I think will be looked back on as a classic comedy in a few decades. Using a relatively simple plot device (Bill Murray's arrogant, pesudocosmpolitan character living the same day over and over in a small Midwestern town), Harold Ramis created a silly, sweet, touching romantic comedy that is endlessly rewatchable.

That said, though, I would've expected a great deal more from a 'Special Edition' of such a well-loved movie. The main differences between this release and the original DVD release of a few years ago are the addition of a commentary track by Harold Ramis and a half-hour or so behind-the-scenes documentary. The menus are also now animated and there are a few filmographies and trailers for other movies added, but these hardly help with the "Special Edition" status the disc is given. The commentary track gives some interesting info on the movie, but Ramis spends a lot of time talking about the background actors and eventually wears a bit thin on the anecdotes. If they could have gotten Bill Murray or Chris Elliott (or even Stephen Tobolowsky) to do the commentary track with him, it would've covered over a lot of the silences and helped with the narrative style, which Ramis keeps very light. Nonetheless, Ramis's fondness for the movie comes out quite cleary, and he's still fun to listen to. The documentary falls a bit flat in that in covers much of the same ground as the commentary track. Save the few behind-the-scenes photos and outtakes, there's little there that Ramis doesn't discuss in his commentary. Even more disappointing is that both refer to scenes that were shot and not used that do not appear in a 'Deleted Scenes' section.

If you liked the movie, but haven't picked the DVD up yet, I recommend getting this version over the original release. If you already own the original DVD, though, there's little reason to pick this one up unless you're a huge fan of the movie. I, for one, hope they eventually release a true 'Special Edition' with deleted scenes, press materials, the script (both Danny Rubin's original and with Ramis's revisions) and everything else we've come to expect from truly first-rate 'Special Editions' which this one sadly isn't.

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Arrogant and self centred TV weatherman Phil Connors is given a chance to fundamentally change himself in this reworked and updated version of Dickens a Christmas Carol.

What would you do if you had the gift (or more likely the curse) of immortality but were condemned to spend it in the same tiny provincial town and to re-live the events of one isolated day? Phil goes through the whole spectrum of emotions as he tries to come to terms with his unique predicament. Frustration, anger and rock bottom despair. Eventually he comes to accept his lot and starts to enthusiastically indulge himself in a completely selfish manner. He tries desperately to seduce Rita his producer, but she always manages to see through his veneer of pleasantness to the ugly character underneath. Its hard not to be moved by Phil's despair when the Ray Charles track `You don't know me' is played. Much much later on he stops thinking of himself and begins unselfishly to help the townspeople through their day. As in life we reap what we sow, and Phil is eventually rewarded for his new found humanity.

Groundhog Day is a truly great film and it works on many levels, as a black comedy, a love story, and a spiritual journey. It's one of those rare films that you can watch over and over and still feel it's impact. Bill Murray deserved an Oscar for his performance and the supporting cast were totally solid too. I defy anyone to see the Ned Ryerson character (needle nose Ned, Ned the head) and not feel the urge to damage him in some way. Buy this classic film and enjoy it forever.

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Wayne's World / Wayne's World 2 (Two-Pack)

This DVD includes both films in widescreen format but omits the directors' commentary tracks, trailers, and cast info that was available on the separate DVDs. With these films, I really don't miss those extras. Great, funny stuff.

Sadly this double DVD feature like most does not have bonus features. However,SCH-Wing Waynes World 1 and 2 Rock. Cameos include Alice "Were not worty" Cooper,Aerosmith,Chris Farley, The naked Indian, jim morrison,Al Bundy. ORIGINALS! CLASSICS.Should be ON TCM. lol.

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Umm i just love the way these films are presented in widescreen the way they were meant to be seen and both films are on one DVD but it's not double sided thank goodness. there is alittle dirt at beginning of Wayne's World that being the paramount logo at the beginning. but other than that it fine actually it looks good for it's age, being made in the 90's and it's been enhanced for16:9 widescreen tv's. it would've been nice if there were extras on this disc, but hey with bargain price like this, i can't really complain. so if you don't mind not have any extras(goodies) and just want the films, then this barebones DVD is for you.

Wayne's World the first movie is just way funny the second is good but nowhere near funny as the original. but is an interesting film anyway and fun to watch. Oh the sound you have the option of english dolby 5.1 or 2.0 surround sound the french soundtrack is in 2.0 and they're only english subtitles on both films.

Highly Recommended for a good laugh.

The Films Are Both PG-13 For language and some sexual humor.

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My husband has been asking for this movie forever and was so happy when I got it so he could watch it with our son. They had a great time watching and laughting together.

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Excellent! I love having the two movies together. Made a perfect birthday gift to give to a Waynes World fan!

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The Kids Are All Right (2010)

The Kids Are All Right is a thoroughly entertaining slice-of-life domestic drama about two kids who look up their sperm-donor father, causing cataclysmic changes in the family dynamic. Not a unique premise save that the parents of the kids happen to be lesbians.

The entire cause célèbre for this film is to show straight America how "normal" gay families are and that they shouldn't be afraid of "gay marriage" or "gay parenting," thus it doesn't delve too deep or wander too far off topic. Political film making is a tricky business. You'll remember the Tom Hanks drama Philadelphia was maligned by the LGBT activist fringe for all the issues it didn't address; to which my answer has always been: it's a two hour film, if you add too many spicy issues you're left with an unpalatable polemic.

The script and direction by Lisa Cholodenko (High Art) are tight, well focused and only occasionally heavy-handed. Her characters are fresh, while being stereotypically familiar to pre-conditioned movie-goers. These are folks we know, people we work with and/or live in our neighborhood: "normal" people. Is it perfect? No; there an almost fatally flawed plot contrivance that seems only there to provide the filmmaker an all too easy source of conflict.

What elevates the film above the run-of-mill movie-of-the-week domestic drama is the acting. Annette Benning is staggeringly good as the head of her household the alpha female in this case. Her performance is embarrassingly rich; she presents a myriad of conflicting emotions, each one immediately recognizable, true and never over played. Julianne Moore turns in a lovely portrait of the less-successful, less self-assured partner. Mark Ruffalo is a revelation as a forty-something man finally approaching adulthood; a free-spirit, still capable of making disastrously foolish decisions in his pursuit to find personal fulfillment. Mia Wasikowska and Josh Hutcherson are always on target as the kids, conveying the perfect blend of angst and innocence.

Just as they did with Juno and Little Miss Sunshine, the film community is falling all over themselves hyping this. Like those films, The Kids Are All Right is an entertaining, socially relevant effort and deserving of quantified praise; but don't be mislead, it's not Citizen Kane.

I found this movie to be very well-acted and well-directed.

The sexual scenes didn't bother me not one bit, like some of the other reviewers.

I mean, COME ON!!---This is life in the 21st Century!--Grow up already!

People get naked and they interact, okay?---Thank goodness that computers and gadgets

haven't spoiled that for us (yet!), as it has with basic conversational skills and other forms

of by-gone or slowly dying human interaction.

I actually know both a lesbian couple, as well as a gay male couple who

are living similar circumstances as in the premise of this movie.

I found it very modern, refreshing, and mature in it's approach to the subject matter.

I have long been a fan of Mark Ruffalo, Julianne Moore and Annette Benning's work,

and I also thought "the kids" themselves did an excellent job at portraying their roles.

My problem was in that I felt like the Mark Ruffalo character kind of had his once happy

and balanced, (for him), life just upheaved and torn apart when he gets contacted by these "kids",

who of course, have every right to know who their father / donor was, and also what his background is.

Ruffalo's character had a great attitude (I thought) about the whole thing...

He was naturally pensive and cautious at first, though not in a malicious way, but soon warmed to the

idea that he had these "kids" in his life now, and was more than open to getting to know them, and allow

them to get to know him. I felt that Annette Benning's character, who felt threatened, in addition to just

being an anal-retentive, controlling witch with a capital B, was very mean and cold towards Ruffalo's character.

Julianne Moore's character was a bit of a messy, confused, psychological user.

Moore's character is that kind of person who is filled with inner turmoil or frustration, but makes it everybody

else's problem around her. I hated how she treated the latino gardener too, just because she felt guilty

about all of the drama and calamity that she was causing in her affair with Ruffalo's character!

I always say: "Don't jump in the river, if you're not a strong swimmer, babe!" (-:

Ruffalo's character was the perfect outlet for her pent up sexual confusion / tension,

and the two (again) enter into a very complicated and torrid affair, which of course, could

only end in heartache for all concerned. As soon as Moore's character quenches her sexual thirst/curiosity,

she just basically returns back to her life relationship Benning's character and the "kids",

after she and Ruffalo's character are found out, and they all seem to throw Ruffalo's character under the bus...

As if to say, "Okay babe, we've all uprooted you from your life, and now we're done with ya!--So ummmm---kay, bye!"

This kind of left a bad taste in my mouth, as Ruffalo's character is literally left

on the outside looking in, as Benning & Moore & the kids reunion-reconnection happens without him.

He is locked out of their lives...Lives that he really never knew exsisted in the first place,

until they invaded his, satiated their curiosity, and sent him packing.

Not cool, I felt. )-:

Not saying that Ruffalo's character was a saint or anything, but the man had his own business

and his own life...as unorthodox as it was...but then again, wasn't Benning, Moore and the kids' lives

just as unorthodox? I guess I just wished that a balance could've been reached between all parties,

and it could've ended on that note, instead of Ruffalo's character, who btw, he played with a great spirit

& optimism, being dejected and disregarded. Just my humble opinion of course. (-:

I still enjoyed this movie though, despite its (what I considered to be) plot flaws. **4 Stars**

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Yes, this movie is probably being at least a little overpraised by the critics. I suspect many of them consider it "brave" for a film to depict an ordinary American family, whose parents just happen to be lesbians. Let's face it, awards voters and critics love anything that deals with race, homosexuality, or any of the other hot-button social topics (witness the dreck known as "Crash" winning Best Picture a few years ago).

None of which is meant to detract from The Kids are All Right, which is still quite an enjoyable small film. The acting especially is uniformly good. Annette Bening is sure to receive an Oscar nomination (well deserved), for her fantastic performance as Nic, the tightly-wound, more responsible half of the married couple formed by herself and Julianne Moore. Moore is also excellent playing Jules, a more aimless free-spirit type their differences are a source of much of the comedy in the film. In all respects but their sexual orientation, they are a typical suburban married couple, with all the happiness and challenges that entails.

Mark Ruffalo continues to be one of the most reliably good actors working today. He gives another standout performance as Paul, the biological father of Nic's daughter Joni and Jules' son Laser. As is often the case in his other films, Ruffalo's acting has such ease and charm that he makes his performance look deceptively easy. In lesser hands the character of Paul could have been the stereotypical charming bad-boy we've seen before in movies a million times. But Ruffalo gives him a warmth and humanity that makes the audience root for him (even when he screws up).

My biggest complaint about the film was with a major plot twist involving Jules and Paul that seemed completely out of character to me. I realize the director was trying to comment on how Paul's more accepting nature gave Jules something she was not getting from her wife Nic but the way it was done in the film strained credibility. I also thought the script was rather mean in its treatment of Paul in general... he was basically just discarded at the end of the film without even a chance at an apology. Meanwhile, Jules makes a rather pat speech about marriage, all is forgiven, and we get a pat and not-very-satisfying ending. The film seemed to border on being anti-male, at least that was my perception.

A word about the 2 young actors who play the kids... they both give fantastic, natural performances and are clearly talents to keep watching for as their careers progress.

Overall the great acting is what carries the rather slight story, and it is worth watching for Bening's performance alone (both she and Moore are completely believable as a lesbian couple, for what it's worth). While I do not think it is Best Picture material, it is an enjoyable and occasionally moving portrayal of an almost-typical American family.

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It seems to me the moral of the story is, if you're a lesbian couple then don't invite your sperm donor into your lives otherwise he'll make one of you temporarily "switch teams" so he can have a brief affair and antagonize your relationship with the children? I didn't really have any expectations for the movie and I barely knew what it was about going in. It's too bad because the acting was pretty good all around and the plot was intriguing and kept my attention. The resolution of the characters and their conflicts however is where the movie just fails for me. I get the filmmakers don't want to be predictable but the end of the movie had me not liking this family very much at all. Maybe that was the point, I don't know. Why build up a flawed but likeable character in Mark Ruffalo throughout the movie only to have the family members basically relieve themselves in his face when he doesn't deserve it and then just go on with their lives like nothing happened? I suppose the Paul character goes from being content with his free spirit life to wanting to settle down with a family. The other characters hardly go anywhere. By the end of the movie Nic is still the same self-centered insecure mother she was before. Jules is still indecisive and overly dependent on people for attention. Laser does dump his jerk of a friend but doesn't do much else the rest of the movie. Joni kisses her friend who apparently shares the same feelings but then that's it. She just goes off to college. The movie wasn't terrible but certainly not deserving of the Oscar attention it has gotten.

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I (kind of) didn't like the spoiled and pompous characters the director created for this film -it was hard to feel a lot of empathy for them. I still like Cholodenko a lot and feel she's a real artist. She used to be edgier though, and that's what appealed to me the most about her art. This film was not as engrossing as some of her other works.

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Unfaithful (2002)

This sensual and somber drama about infidelity stars Diane Lane and Richard Gere as a married couple headed for tragedy. Connie (Lane) and Edward (Gere) are successful suburbanites with a seemingly happy marriage, until Connie meets an attractive younger man and begins an affair. Edward wonders what's going on, hires a private detective, and gets the answer he suspected all along.

Lane is memorable as the guilt-ridden wife who is obsessed with her lover. She is lovely, mature, and honest in her portrayal and deserved her nomination for Best Actress. Gere is almost a supporting actor here, but he is wonderful playing an average guy. Olivier Martinez plays Lane's paramour. His character was fairly one-dimensional and could have been developed further, but he was very good in the role.

The first time I saw the movie, I thought it was relatively dull because of its relentlessly low-key presentation and leisurely pace. On the second viewing, however, I found it a real winner. There are long periods without dialogue, where the camera focuses on facial nuances. The silence gives one a chance to appreciate the fine acting. The photography is excellent, from wide shots of dirty urban streets to warm glimpses of home. The musical score was lovely, lilting and romantic. "Unfaithful" is erotic and tender, with some surprises and an excellent ending.

There is a certain beauty contained within this film that makes it beyond a film about infidelity and its consequences. Diane Lane didn't get my attention until the recent "The Glass House." As a new fan, I had to see 'Unfaithful'...her performance is nothing short of remarkable.

The story revolves around a 'happily married', middle-aged couple living in the suburbs of NY with one small son. Their life is the picture of the 'American dream', until one day, Mrs. Sumner (Diane Lane) goes into the city on business and cosmically collides with the much younger Paul Martel (Martinez). When he invites her in to clean up her skinned knee a most deadly affair begins.

What makes this movie different from all the other films with themes such as betrayal, etc, is that we see the struggle and transformation Diane's character makes. Several times we see Diane reflect on her various 'visits' to Martinez and all at once her face displays pleasure, pain, and paranoia. She brings likability to a character we should hate. Richard Gere is one of my favorite actors and I deeply respect him for taking a 'backseat' role in this film. His character torments himself wondering why his wife would possibly want to cheat on him, as he thought he was providing a perfect life.

Added suspense and thrills come about when Gere starts to suspect and eventually finds out about the affair. We then see the direct effect affairs have on families. The murder mystery was thrown in more for entertainment value but the true artistic aspect remains in the adultress' mind.

We've seen affairs start from heartbreak, drunkeness, seduction...any reason other than this film's...boredom. From boredom and seduction we get obsession, we see Diane become addicted to her breakaway from daily life. For those of you who love Richard Gere as much as I do, you really have to bite your lip watching him getting cheated on! However, there is great remorse as Connie (Diane) really does love her husband, but someone dies before the affair is ended. This movie truly remains with its viewers. I recommend picking up the haunting tracks 'Moby Rushing' and 'E.S. Posthumus Nara' to reexperience the emotions captured through watching 'Unfathful.' This is a definete must see!

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Adrian Lyne is not known as the king of subtlety, as in his "Fatal Attraction" or "Flashdance." He showed remarkable restraint in "Lolita"; giving the film a beautiful and reverent patina of intelligence and honor especially in Jeremy Iron's portrayal of Humbert. Why the major distributors did not take on the mantle of "Lolita" will forever remain a mystery.

In Lyne's newest film, "Unfaithful," he finally comes into his own with a film that is not only provocative but also one that resonates with clear headed thought and remarkably subtle performances.

"Unfaithful" is the story of Connie and Richard Sumner (Diane Lane and Richard Gere), happily married for eleven years with one son living in White Plains, New york. One day, Connie is in NYC for business in the middle of a hurricane-like windstorm when she literally runs into Paul Martel (Olivier Martinez). After Connie scuffs her knees in a fall, Paul invites her into his apartment in Soho for some tea and thus begins a torrid, ultra-sexual love affair. Everything up to this point is Lyne-like with Lane and Martinez never looking more beautiful and sensual in their entire careers amid scenes of photographically perfect lovemaking.

But Lyne throws a wrench into his usual mix of infidelity amd marital indiscretion by adding a murder and thriller plot that adds dimension and breadth to the film. Is it any wonder that this cast was interested in doing this film? Especially Richard Gere who is extremely picky about the projects he undertakes.

Even though Diane Lane has been making movies since she was twelve, she does wonders with her character here. Her Connie is in love with her husband and her life but simply cannot resist the charms of her "amour fou" Paul. There are no big decisions to be made here, Connie is bowled over by Paul and does almost nothing to resist his charms...he is French,handsome and young after all.

The reprecussions of Connie's affair are played out with Hitchcockian suspense yet without Hitchcock's 50's sensibilities and Calvinist modes of retribution. The ending is left remarkably open to interpretation.

Even though Diane Lane has been making movies for 30 years, she has never had a better part than that of Connie and she makes the most of every one of her scenes. She is a revelation in her reticent yet all-consuming realtionship with Paul and with her intelligent and sympathetic dealings with her family. We truly care for her and her situation: she transforms what could have been a negative part into something positive and life-affirming. Both Gere and Martinez are also first rate and empathetic: we care for both even though they are far from perfect human beings.

Adrian Lyne has had a rocky career with several lows ("Lolita") and few highs ("Fatal Attraction"). "Unfaithful" shows us all what a fine, accomplished, subtle film maker he is and what a diligent and persuasive director of actors he can be.

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The three main actors, Diane Lane, Richard Gere and Olivier Martinez, do an absolutely wonderful job with this movie.

This is not a female version of Fatal Attraction as some have suggested. At least I did not feel it was so.

BASIC STORY:

Diane Lane is the happily married mid-forties woman who accidentally meets a young incredibly attractive man in his 20s who, is obviously attracted and interested in her. Her husband Richard Gere is a cuddly lovable, happily married and successful man. What really blows you away, is why would she stray? Oh yeah, this young man is drop dead gorgeous, sexy and is patiently interested in her.. Deadly combination.

This young man, is like light to the moth of Diane Lane's character and she keeps coming back despite the potential harm to her family. Since she is doing such a shoddy job of hiding her involvement, in her intensity to see this young man, Richard Gere's character begins to suspect something.

INTERESTING COUNTERPOINT:

At one point in the movie, Diane Lane's character is seen by some friends in the young man's neighborhood and she is forced to have lunch with them to allay suspicions. Olivier Martinez's character comes to the restaurant to have a dailliance in the back with Diane Lane's character, while she is supposedly in the ladies room. However, these ladies in conversation make it quite clear when they see Olivier Martinez that they feel he is wildly attractive. One even goes as far to say, she would go to bed with him in a second. The other, is wilting while recalling a former affair that she has had and its devastation. Diane Lane's character is forced to see both sides of the coin.

ACTING AND ACTION ARE INTENSE:

There are some pretty steamy scenes in this movie. Diane Lane does an excellent job also of showing both her mixed feelings and reckless abandon. You see her maniacly pursuing this forbidden relationship, once it is is started. Richard Gere is great as the devoted husband. He is playful and lovable, but not stupid. He does everything he can to understand what is going on, until he has proof in his hands. Olivier Martinez, is one very attractive and compeling young man. I'm sure we will see him even more in Hollywood (in English speaking films) now that he has done this movie. He is wonderful as the young lover.

I won't go further than this, but the movie takes some twists you don't expect and some you do. Wonderful job. Very entertaining.

I think this movie will make some people think. It could start some very interesting conversations.

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This is the movie that everyone should view before deciding whether to engage in an adulterous affair. Connie Summer (Diane Lane) is a woman with far too much time on her hands. Her husband Edward (Richard Gere) easily earns enough money to support the family in an upper middle class lifestyle. Connie only has one

boy and no serious avocations to focus upon. She is an attractive and bored woman approaching middle age. In other words, Connie is a walking time bomb waiting to go off. Connie literally runs into the much younger Paul during a windy afternoon in Manhattan. One thing leads to another, and eventually Connie ends up in Paul's bed. The odds are highly against this become a lasting relationship, but Connie enjoys the lustful encounters and isn't particularly interested in thinking about the distant future. The pleasure sectors of her brain now dominate the analytical. Practical questions can wait to be answered on another day.

Edward wasn't born yesterday and quickly realizes that something is amiss. We follow the unfolding events knowing full well something tragic is about to occur. The dialogue is near perfect, and the acting superb. Diane Lane is brilliant and this may be the best work that Gere has done in a number of years. Director Adrian Lyne's approach is thoroughly secular. These characters display no religious inclinations. Nonetheless, the awfulness of adultery comes across loud and clear. This is an act of betrayal that almost certainly will severely damage, if not completely destroy a marital relationship. Do you really wish to take that risk? After seeing Unfaithful, you will likely say it's not worth it. I can't quite give this film five stars, but four and a half seem appropriate.

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Dan in Real Life (2007)

I blame it solely on that horribly cheesy poster art portraying Steve Carell's head laying on a stack of flapjacks, but I wrote off `Dan in Real Life' well before actually seeing it despite the good reviews and word of mouth from friends. It was supposed to be really good, but in my head all I saw was cheesy ridiculousness pretending to be sincere. I'm really glad that I finally gave in and watched this film this past weekend.

What a treasure.

I know this may seem like an odd comparison, and I will say off the bat that the film I'm about to compare it to does have some heavier themes, but this reminded me a lot of last years independent surprise `Rachel Getting Married'. In fact, I actually think that overall, `Dan in Real Life' is the better of the two films, or at least the most complete and comfortable of the two (when have I ever shunned away from discomfort in a cinematic offering?). I had a few issues with `Rachel's construction, but here I was completely soaking up every frame. It was funny, touching, charming, emotionally resonate and beautifully structured.

In quoting the film itself, and my review's title; "Plan to be surprised".

Steve plays Dan, an advice columnist who has lost his wife to an illness and is rearing his three young daughters with difficulty. His eldest daughter just wants to be given some freedoms, his middle daughter just wants to be allowed to express her newfound love and his youngest daughter just wants a little attention. Dan, depressed yet never to the dramatically overstated and clichéd effect that many actors would have played it, is just not capable of giving them what they need. When they make a trip to visit family, Dan meets the beautiful Marie and sparks fly, but she is involved and so they part only to uncover that they will be spending a lot of time together as Marie is dating Dan's younger brother Mitch. Trying to hide their growing affection for one another, Dan and Marie try and play cool, but it soon becomes more than either of them can handle.

The film is so much more than a glorified rom-com, as it seemed to have been marketed as. I really wish that this would have gotten the push it deserved, and that it had been campaigned as what it really is; a heartfelt and honest portrait of middle-aged growth and development. There is a sincerity about the way Dan comes to terms with his own person, trying to understand who he is as a man, as a father, as a widower. Carell is outstanding here (something I never imagined that I would say). Juliette Binoche is marvelous, as usual, giving her delicate performance a layer of spunk and wit that makes her delicious in every sense of the word. I even enjoyed Dane Cook's performance, and I find him repulsive. He was genuine and charming and natural.

I just love the piano-side sing-along (piggyface), for it was scenes like that that gave the film this lovely sense of naturalness.

Between the stellar cast and the wonderfully constructed scripting (nothing is ever too clichéd and even the romance is developed with smarts as apposed to the usual laziness) that contains some comical yet appropriate dialog ("MURDERER OF LOVE!"), `Dan in Real Life' is the real deal. I am just in such a state of pleasant and very welcomed shock right now.

Now, let's talk about fixing that ridiculous cover-art.

A tired formula gets a shot in the arm by affecting performances in this quaint little film that will touch you.

I have grown to really appreciate the acting talent of Steve Carell who really can carry a film. Carell darn near stole the show in Bruce Almighty to the point where the funniest segments were cut from the theatrical release because he upstaged Carrey so much, but those scenes where fortunately made available on the DVD release. Carell was again the saving grace of Evan Almighty and The 40-Year-Old Virgin in which both most likely would have died unnoticed had it not been for his sincere performances. This comedian definitely knows how to act. Carell reminds me of the legendary Dick Van Dyke when he had serious roles or moments and Bob Newhart's dry comedic delivery. It all just seems so effortless on Carell's part.

In another affecting performance we have Carell as a widower raising three daughters alone and giving his tidbits of wisdom on doing so in a local column titled "Dan in Real Life." Even though his wife has died four years ago, he has yet to really move beyond that in the way of a relationship. He has focused all his attention of his children and while that is admirable, a parent is still allowed to look out for himself too. He has not and the annual fall trip to his parents' cabin plays out all too realistically with everyone pushing him to find someone and he does.

He bumps into a lovely woman in town that he's immediately drawn to. She is played by the ever radiant Oscar winning actress Juliette Binoche, the only reason to see The English Patient and one who makes turning 43 seem really cool and desirable. In the hands of any other actress this role would have been blown out of portion, but in the subtle hands of Binoche, it is a delicate and balanced performance. Unfortunately, this terrific woman who seems perfect for him is, in reality, his brother's latest flame that he's brought down to the family cabin to meet everyone for the first time because "this one is different."

Sadly, the effects of this are handled much like a TV-movie or a good episode of that old series "Love Boat", or any other sitcom for that matter. What makes this film ultimately rise above that is admirable work done by the leads. These are seriously understated performances that are quite touching, believable and memorable in spite of a seriously flawed script at times.

Some of the humor in this film is both lame and predictable, but the execution is always dead on. Again, the performances are the key to this tired formula of the awkward romance. I guess this film is a good example of style over substance. Will this save this movie for everyone, no, but I think most might like this film. I doubt many will love it or even remember it much after seeing it, but it's a nice experience in spite of it's obvious weaknesses.

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Anyone who actually believes that love is a many splendored may not get their money's worth from "Dan in Real Life." Here's a film that shows just how unexpected, irregular, and confusing love can be, both in terms of family and romantic interests. There's intelligence to this story that's equally humorous and heartbreaking, proving once and for all that love is difficult to receive and even more difficult maintain. At times, it's also difficult to acknowledge, especially if it's being kept a secret. The greatest difficulty of all is letting go of love, to recognize that the past is the past and to know when to move on. All this is explored in "Dan in Real Life," a smart, witty, and touching romantic comedy that doesn't lose itself to an overabundance of clichés. The formulaic elements are there, but they're presented in a new way, and they're used in a story that can actually support them. They're not used simply because we expect them to be.

The plot focuses on Dan Burns (Steve Carell), a widowed advice columnist living in New Jersey with his three daughters. They all drive to Rhode Island for an annual family reunion, and its there that Dan meets Marie (Juliette Binoche), a good-natured woman who has traveled the world and seen many sights. Their romance comes to a halt when Dan discovers that Marie is dating his brother, Mitch (Dane Cook). Dan spends the rest of the film struggling with his feelings, unwilling to let Marie go yet unable to be honest with his family, who he can't seem to connect with.

As simple as this plot sounds, a number of fascinating, thought provoking elements liven things up. One of the most interesting is the relationship between Dan and his daughters. The two oldest are typical in that they hate Dan: seventeen-year-old Jane (Alison Pill) is desperate to see the world, and a great way to start would be to finally learn how to drive; fifteen-year-old Cara (Brittany Robertson) believes that she's deeply in love with a boy from school, and she openly despises her father for not letting that love develop. At one point, she screams that he's a murderer of love. Dan tries to rationalize the situation--Cara has only known the boy for three days, and it's impossible to know whether or not you're in love so quickly. Eventually, Dan begins to analyze his love for Marie, who he had only met three days earlier. His youngest daughter, Lilly (Marlene Lawston), is the least hostile, despite not understanding why her father behaves the way he does. As his love for Marie deepens, he loses track of Lilly, and he ultimately hurts her feelings by neglecting to read a special book she made for him.

Another important element is the relationship between Dan and his immediate family; because he makes himself so distant, they look at him more with concern than with love. Some feel that he needs to finally let go of his dead wife--his parents (John Mahoney and Dianne Wiest) set him on a blind date with an old family acquaintance (Emily Blunt), hoping that he'll finally have some fun. This suits his brother, Clay (Norbert Leo Butz), just fine, since he feels that Dan should "uncork" himself. The pressure they're putting on Dan is unmistakable, as is the fact that their actions are well intentioned but completely unnecessary. This is probably why he attempts to engage his nieces and nephews, even when they make it clear that they don't want to be engaged.

But the relationship between Dan and Marie is the most important element. It all boils down to the fact that two love struck people are under the same roof, unable to show their feelings for each other. How long can this go on? Will anyone notice? Will either of them be able to come clean? These are the questions we find ourselves asking as the film progresses, not only because the story is entertaining, but also because we eventually realize that Dan is not following the advice in his own written columns. Dan himself realizes this when his articles are considered for syndication in a major newspaper--he has become a hypocrite, someone so blindsided by love that he didn't think about who might get hurt by it.

Is it normal for love to be this emotionally exhausting? I don't think I'm the right person to answer that question, which is probably just as well; a recommendation for "Dan in Real Life" doesn't depend so much on what I think, but on the mindset you bring to the theater. This classic Boy Meet Girl fable is told in a non-traditional way, relying more on genuine emotional development than on a formulaic structure. Although it allows for the film's one weakness--an abrupt ending--the emotional development still does wonders for the story, preventing it from becoming a bland, meaningless romantic comedy. It helps that all of the characters are believable, especially Dan; as he comes to terms with the ups and downs of life, our own humanity is reaffirmed. This alone makes "Dan in Real Life" a heartfelt, funny, and thoroughly enjoyable film.

Read Best Reviews of Dan in Real Life (2007) Here

When Steve Carell and Dane Cook were given top billing in "Dan In Real Life," I expected a great or mediocre comedy filled with laughs and humor. Congratulations again goes to the marketing that makes a film appear different than what it actually is. This is the case with "Dan In Real Life," a film that will make you laugh with the characters, but also make you bury your face into your arms at the awkward situations dealing with love.

Dan (Steve Carell) is a widower, whose job is writing for an advice column in the paper and raising his three girls. As much as he's good at helping people, Dan can't seem to connect with his daughters. He decides to take the family to his parents' lodge for the weekend and while there he meets Marie (Juliette Binoche) in town and they immediately make a connection, only to separate soon after. Coming back to the lodge, he finds out that his brother, Mitch (Dane Cook) is dating Marie and Dan has to endure the weekend, tormented with the love he has for Marie and his daughters' dislike of him.

First things first, "Dan In Real Life" is not a comedy. It does have touches of humor and slapstick throughout, but it's much more dramatic. The title character is depressed and trying to make life work for him and his family. This is the film's downfall, because at times, it doesn't know if it wants to be either a comedy or a straight drama. It lands in the middle of the spectrum and this hurts it slightly. Luckily, the acting is very good and keeps the film from being less than mediocre.

Steve Carell is one of my favorite actors (huge fan of "The Office") and he didn't let me down here. From what I saw, he was in every single scene and he truly made them better. At one point, you'll be laughing at the absurdity of his situation, when you'll be sympathizing for his character the next (the "Let My Love Open the Door" scene). Carell makes Dan extremely likeable and a character to root for. Dane Cook gets a bad rap for his acting and although some of his movies aren't great, he does fine here as Dan's brother. Cook downplays it and his love for Marie is believable. He needs more roles like this. As the love interest, Juliette Binoche is great and has good chemistry with both Carell and Cook. All the acting was fine and was the best part of the film.

What really hurt the film was Dan's daughters and the ending. Although the actresses playing them did a good job, their characters were so poorly written. Instead of being loving, they became annoying and grating. Dan is trying his best to help their situation, but they make it harder for him. Finally, the ending was too "sweet" for my taste. It seemed like it came too abruptly and the end credits montage had my eyes rolling. If they took that out, then maybe it would have fared better.

Overall, "Dan In Real Life" surprised me in that it wasn't a consistently funny comedy, but a heartfelt drama. Unfortunately, it had a hard time juggling both genres. Thankfully, good acting helped the film along and made it better than it should have been.

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This, along with a couple other movies now (only a couple though), is the revival of good script writing and good screenplays. This movie has zero special effects, but yet is such a good, good movie. I was very impressed. Carell can play a more serious role. This is where it's at. Dane Cook too did well out of his typical comedy role. I wish everyone would give this a chance. It's great.....More movies should be made like this. It's simple and great all in at once.

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Full Monty (1997)

Please note that this is for the two-disc "Fully Exposed" edition:

If you're reading this you're probably already a fan or at least have read other reviews telling you how great the movie is, so I won't clutter the place with more of the same.

But it has to be said that after ten years of being stuck with a DVD that counts "Interactive Menus" as a special feature, I'm beside myself that there's finally some REAL special features to be had.

We get to see some of the history regarding the brass band featured throughout the film, development of the script and production, not to mention two different commentary tracks.

But the real gem, as far as I'm concerned, is the featurette "Translating English to English". It really exposes this bizarre paranoia that the American side of the production had.

Rewinding a bit, I started my Monty obsession with a VHS copy of the movie and always wondered why some of the words didn't match the facial movements of the actors. When the tape wore out I replaced it with the first DVD version, which had an "Original UK audio track" option. Playing that, I realised that they had dubbed some of the words for the US version and that's why it always looked so goofy.

Even funnier, it wasn't the weirder UK expressions like "Chuffing Nora" or "Don't get a benny on". No, they dubbed words like "DIY" into "how-to" and "tw-t" into "git". Tw-t into git?? How is "git" any easier for the supposedly confused American audience to understand?

So the featurette on the subject was just about as funny as the film itself and, for me, that alone was worth buying this version.

Definitely a must-have for any Full Monty fan.

Just about the time you think no one is capable of making a fresh and original comedy anymore, along comes something like The Full Monty, to surprise and delight you with wit and subtlety and insight.

The story of unemployed steel workers in Sheffield, England who decide to put on a male striptease show for one night to make some money is a simple premise that is beautifully realized because of the time the film takes to build our understanding of these men and their different plights and motivations. We come to know and care for them as they come to care for each other. The comedy grows from the characters and their personalities and their different reactions and situations. There is sympathy and sensitivity to their desperation: Gaz (Robert Carlyle), the ex-con hustler, desperate to keep a connection with his son; Gerald (Tom Wilkinson), the manager, desperate to hold onto his middle-class lifestyle; Dave (Mark Addy), chubby and insecure, desperate to hold onto his wife; and so on. Expertly played by these actors, new to American audiences in 1997, but now familiar, the laughter evoked is wry and humane and, in the end, joyful.

The film carefully builds the story with expert comedic setups (the auditions and rehearsals, etc.) of everyday men trying to do something they are seemingly unequipped and ill-prepared to accomplish, with touches of pathos as we see the troubles and strains in their personal lives. All this leads to the Big Night and a grand finale that is funny, heart-warming and beautifully filmed. A terrific little film with a lot on its mind, beneath the humor. Something to do with the dignity of work, of self-respect, and of the touching care one can find amidst people undergoing hard times. A gem.

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I brought "The Full Monty" home one evening when my boyfriend was not feeling well because I thought that a good laugh would cheer him up. His reaction to seeing the video box? "I'm already not feeling well. I don't want to watch a movie about a bunch of male strippers prancing around." And then we put in the movie and couldn't stop laughing.

"The Full Monty" is about so much more than male strippers. The film centers around out-of-work steelworkers trying to cope with life now that their mill is shut down. The movie realistically explores male friendship, men's feelings about failing their wives' expectations, devotion to family, coping with loss,... but in ways that do not become depressing.

The stripper plan comes about because Gaz (Robert Carlyle) needs to come up with money to bring his child support current so that he can continue seeing his son. The father-son relationship is one of the most touching aspects of the movie. Gaz's son, Nate, tags along with Gaz as he tries to put together a Chippendale-style show to catch up on his child support. [As an aside, "The Full Monty" and "A Thousand Clowns" with Jason Robards would be an interesting pair of movies to see together as a starting point for examining what makes a good father.]

The relationships between the dancers that Mark Addy and Carlyle assemble is fun to watch. Tom Wilkison (also seen in "The Patriot", "In the Bedroom", and "Moulin Rouge") is excellent as their former supervisor who turns to dancing to cover his wife's extravagant spending. Addy is equally good as Gaz's chubby friend who is struggling with his marriage: His wife wants him to take a job in a local variety store. He thinks she's having an affair because he's too fat.

To top it off, the soundtrack is awesome!

Read Best Reviews of Full Monty (1997) Here

This classic (albeit very modern) 1997 British film, which I have seen a few times now, is one of my favourites. The storyline is highly original, very funny, and hugely entertaining overall, but it's also heartwarming. The setting is Sheffield, England, world famous for its steel. Sadly Sheffield, like most of the North of England, has had to deal with massive unemployment; in Sheffield's case, it's a result of the collapse of the steel industry. Briefly, the story revolves around six unemployed men, victims of the times, who aspire to "putting on" a one-night-only "full monty" (British slang for "taking it ALL off") strip show to raise some much-needed cash.

The idea is actually the brain-child of one of the men, Gaz (played by Robert Carlyle (The World is Not Enough)), who is in arrears in his maintenance payments for his son (who lives with Gaz's ex-wife and her new boyfriend). Gaz is at risk of losing joint custody and fears he may lose his son altogether. His motivation (and indeed his desperation) in coming up with such an outrageous scheme is, therefore, both plausible and understandable, for the men stand to pocket a nice little sum of money if they can, quite literally, pull it off. The film, which is 95 minutes, also features Tom Wilkinson (Essex Boys), who plays the lads' former boss from the steel factory, and Paul Barber (Denzil from Only Fools and Horses).

In conclusion, I highly recommend this film to fans of British comedy in general, but I think its appeal is broad enough to be enjoyed by anyone looking for a thoroughly enjoyable comedy with a really good storyline. Just one thing: Viewers ought to be prepared for fairly thick Yorkshire accents. This may be a bit of a shock at first for the unfamiliar, but close attention helps and it is well worth the effort. It's a cute story that is superbly acted and very well presented. What's more, it's a film that can be enjoyed time and again.

Very highly recommended!

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In the spirit of full disclosure, most of the films and literature on my "all-time favorite" lists are British, so there is definitely something about our cousins across The Pond that appeal to my sensibilities, although I am not of British descent, but "Monty" is special. Being from the Missouri Ozarks, the Yorkshire accents in the movie couldn't be further from what my ears are accustomed to hearing, but in no way did that interfere with my thorough enjoyment of this film. It is warm, sweet, a bit melancholy, and touching while managing to avoid being sappy...and absolutely hilarious.

The key is the situations in which the characters find themselves that are funny and not so much the characters themselves. The result is believability and dignity of each character, even while they find themselves in very undignified circumstances.

As a side note, The "translator" section in the Special Features is puzzling to me because they translate slang terms with which most Americans are already familiar, i.e., "DIY," "tw-t," etc., but leave out British oddities that are unknown in the USA, such as "chuffing Nora" "kit," and "taking the piss" and some terms that, after repeated viewings, still sound like gobbledygook to the average American. No matter. Everyone I know who has seen the film understood what was going on.

This film is not raunchy, tacky, or vulgar, so do not let the premise put you off. It is a lovely story about human beings discovering their dignity in the midst of very undignified circumstances. Highly, highly recommended.

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Whatever Works (2009)

After a string of movies set in Europe, Woody Allen triumphantly returns to his beloved New York for Whatever Works. Since Allen releases a new film each year, it's hit-or-miss with him (rightfully so). This film got less-than-enthusiastic reviews and, as such, I wasn't expecting much from it...But the critics really misrepresented this film, as this is one of Woody's best comedies.

Larry David (of Curb Your Enthusiasm fame) plays Boris Yellnikoff, a caustic, retired physicist who walks with a limp due to a failed suicide attempt. Now, Boris teaches chess to "zombie-minded imbeciles." Evan Rachel Wood plays Melodie, a naïve runaway from Mississippi, who stumbles into Boris' life...Against all odds, the two marry and Melodie's parents (played wonderfully by Patricia Clarkson and Ed Begley, Jr.) both, separately, find her.

I'm not familiar with Larry David's previous work, so I don't know how much of this performance carries over from his own persona; but David is playing the Woody Allen role here to perfection. David perfectly captures the neurotic, arrogant genius that is Boris and recites Allen's dialogue as if it comes straight from his own thoughts. Of course, this is a film filled with great performances as can be expected from a film by Woody Allen. Begley, Jr. is particularly surprising as Melodie's father...And while some may not be too impressed by Wood's performance as Melodie, she's very convincing and cute.

This is truthfully one of Allen's best comedies and an all-around great film. The dialogue here is typical, philosophical, sarcastic Allen...But it doesn't just elicit chuckles, but full-on, laugh-out-loud laughter. It's a very intelligent film that not ONLY ranks as one of Allen's best comedies, but one of his best films. I don't see how this film has not received the amount of praise it deserves, because I clearly saw something all the critic's didn't. While the past few years have shown a return to form for Allen, this film stands as a terrific achievement in the Allen catalogue. It's quite honestly one of the best films I've seen this year and it's not to be missed.

GRADE: A

Woody Allen has been a very lucky director in the history of Cinema. I can't think of any other director with the exception, maybe, of Spielberg that can still do "his" movies, even if they don't continuously make money. Indeed, with Allen you never know -he can equally have a hit or a miss, but he still gets financing for his ideas. His latest, "Whatever Works," I am happy to say, is a hit. Actually more than a hit: a treasure. One the best films I have seen in a long time. It is smart and wicked, with great dialogue and very funny --Woody Allen's funny, that is, if you know what I mean: just plain good acting and inspired writing.

Boris Yellnikoff (Larry David) describes himself as a "profound, sensitive soul, with an enormous grasp of the human condition," who always has nightmares about Joseph Conrad's "the horror." He is a brilliant man, who doesn't hesitate to refer to himself as a genius he is a physicist, who specializes in Quantum mechanics. And he may be right. However, due to the nature of his character and personality, he is not easy to live with. He is divorced, and walks with a limb, because he tried to kill himself by jumping from a window. He earns a living by teaching kids how to play chess (insulting and degrading them), and getting together with his equally intellectual buddies, who patiently hear his rants about the decline of mankind. He claims that he spends his time "trying to express to cretins that, while a black man got into the White House, he still can't get a cab in New York." However, his structured life drastically changes when he meets Melodie (Evan Rachel Wood), a runaway that asked for his help at his doorstep, because she had nowhere to go. He reluctantly accepts, and invites her to stay for a couple of days. Of course, love blossoms, and despite their age and intellectual difference he is much older and smarter than her -, they eventually get married. They actually live happily ever after that is, until Marietta (Patricia Clarkson), Melodie's mother, suddenly comes into the picture.

"Whatever Works" functions at every level. It is original and hilarious, with Woody Allen providing evidence that he is still the best smart comedy writer that there is. It would not be a mistake to say that it probably captures Woody's inner feelings and current state of mind, which are summed up in one of the lines of the film: "In the end, the romantic aspirations of your youth are reduced to whatever works." In addition, it is also a subliminal critique to the right-wing mentality that permeates part of our culture. A comedy masterpiece. (USA / France, 2009, color, 92 mins).

Reviewed on October 27, 2009 by Eric Gonzales from

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WHATEVER WORKS is a drama taking place in a middle-class residential neighborhood in New York City, complete with Jewish delicatessens and art galleries. This type of neighborhood is familiar to me, as I have toured the SoHo district in lower Manhattan many times. Because the story took place in lower Manhattan, the movie was continually fascinating to me. The film takes place in the present day, that is, circa 2009.

In brief, a runaway girl materializes on the doorstep of a retired physics professor. The professor is a confirmed curmudgeon and, to some extent, a misanthrope. His manner of speech takes the form of amusing 1-liners, regarding the fruitlessness of human society. The professor takes the girl in, and she lives with him, and they have a sort of father/daughter relationship. Over the course of weeks, the girl adopts the same speech patterns as the professor, and she spews out the same amusing 1-liners about the futility of human society. The girl's father and mother, both devoted Christians, split up prior to the girl's running away from home. The problem was that the father was having an affair with another woman.

The girl is from the American South, and prefers Louisiana-style cooking, and has a southern accent. About half-way into the movie, the girl's mother materializes at the front door of the professor's house. Unexpectedly, the mother quickly adopts to the lifestyle of New York City, and her collection of casual family snapshots is "discovered" by an art critic, and the mother has an art exhibition in a gallery (not an exhibition in a mere coffeeshop). (The fact that the mother, a mere picture-taker, has an exhibit at an art gallery, is a slap in the face to any person who has really had a 1-person show in a recognized art gallery.) Also, the mother acquires two boyfriends. One of the boyfriends is a middle-aged man who is a philosophy professor, and the 3 of them sleep together. Thus, the storyline is utterly bizarre. It is not art. It is not entertainment. It is not creative. It is not interesting. It is just random garbage.

Towards the end of the movie, the girl's father materializes at the front door of the professor's house. He also, came is search of the runaway daughter. As the man's character develops, during the remaining thirty or so minutes of the film, he discovers that he is really gay, and he quickly develops a gay relationship with a man he finds in a tavern. But again, this makes the storyline too disjointed. The storyline goes "off-topic" too often in this movie.

On the plus side, the actress playing the girl is abundantly easy on the eye. But on the minus side, WHATEVER WORKS is fraught with improbabilities. First of all, it is not often that an astonishingly beautiful girl shows up on a man's doorsteps, as a runaway. Second, it is not often that a 20-year old girl marries a 70-year old man who is a retired professor (this is what happens in WHATEVER WORKS). Third, it is not often that a southern housewife is promoted as a photographer, on the basis of her "portfolio" of casual family snapshots, and has a photography exhibit at a lower Manhattan art gallery. Fourth, it is not often that a physics professor tries twice to commit suicide (this is what happens in WHATEVER WORKS). To summarize, this movie consists of a re-cycling of things that Woody Allen likes and finds dear (younger girlfriends, New York City art galleries, talking about excessively personal hang-ups in ordinary conversations). We have seen the same themes, again and again, since the 1970s in Woody Allen movies. The contrived marriage of the 70-year old man with the 20-year old girl, obviously mirrors Woody Allen's own marriage to his step-daughter (Soon-Yi) who is thirty years younger than himself.

WHATEVER WORKS could be the very best of all of the Woody Allen films that utilize the above collection of themes. But on the other hand, what prevents this movie from having much more value than a typical made-for-TV movie, is that fact that it consists of a studied melange of incoherent and incompatible things, squeezed and forced together, into a single storyline.

(Also, this movie is NOT a comedy. There is nothing here to make you laugh. The movie is merely amusing.)

Perhaps the only believable part of WHATEVER WORKS, is the professor's schmoozing with his friends, at a sidewalk coffeeshop. In fact, if the entire movie had taken place on the sidewalk table, at the coffeeshop, documented the conversations of three mature men, I might have given the film FIVE STARS. To emphasize this point, if this movie was more like, MY DINNER WITH ANDRE, then that would have been fine with me.

The star of this movie is Mr. Larry David. Mr. David is one of the most successful people in the history of Hollywood, having been one of the founders of the SEINFELD show, and having written 62 episodes of SEINFELD. But in my opinion, even if the cast consists of seven Academy Award winners, it cannot convert such a bizarre, improbable, contrived script into a watchable film. Basically that is my point -the movie WHATEVER WORKS borders on being unwatchable.

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Larry David does Mr. Cranky better than anyone and still remain funny. Pessimism as comedy is an art form when done right.

A totally different movie. Nice easy pace. Soundtrack is really good as Woody's movies usually have. Only a few laugh out loud moments for me but I had a smile the whole movie. Larry's line as they enter the photo gallery was hilarious. Just plain interesting movie. Really liked this one. Something NEW is almost always worth an extra star. E R Wood was really charming and with a very good supporting cast.

I hope Jessica Hecht gets more movies roles, very good presence but just a small part here. IMBD lists more roles coming up for her. Hope they're bigger. Woody is really good but some of his movies miss for me. Not this one. Worth seeing.

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An incredibly well thought out film that confirmed a long held conviction of mine about what is really important about life. What is really important about life? Nothing specificaly. Whatever works is important for each of us. No prejudices, no preconceptions, no hook-ups. Of course, a corollary of this theory is that what is important for someone is not important for another.

Of course we all have out different tastes but I really don't understand those who say this movies is not funny. It is for me. Extremely. Witty, quick, and well maybe I am thick but I did not find it predictable at all.

I do agree with those who argued Woody might as well have played the protagonist's role. Why did he not? David acts so much like Woody. He actually even sort of looks like him. When I first saw the movie I assumed Allen was acting and took me several minutes to realize it was not him on the set!

Strongly recommended.

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