Showing posts with label romantic comedy movies. Show all posts
Showing posts with label romantic comedy movies. Show all posts

Clue: The Movie (1985)

Clue: The MovieClue is Paramount Pictures' comedic film rendering of the classic Parker Brothers board game of the same name. But don't let that dissuade you from seeing this one. Although you'll recognize the chromatic character names, unlikely murder weapons, and Victorian mansion settings, tracking down the murderer in the movie version of Clue requires a good deal more than a deck of cards and a notepad. (It's a lot more fun this way, too.)

Involving the talents of seven of Hollywood's funniest funny people, including Madeline Kahn as Mrs. White, Christopher Lloyd as Professor Plum, and Tim Curry as Wadsworth, the requisite butler, the film is guaranteed to keep you laughing. The script is packed with sparklingly witty exchanges, such as this one between Wadsworth and an angry Colonel Mustard (Martin Mull):

Mustard: Are you trying to make me look stupid in front of the other guests?

Wadsworth: You don't need any help from me.

Mustard: That's right!

Later in the picture, as the by-now-blasé guests glance down at the most recent victim, Mr. Green (Michael McKean) updates the count to "Six murders." Wadsworth's grave response? "This is getting serious." And Wadsworth's explanation of "who killed whom where and with what" at the end of the picture is packed with the impersonations, facial expressions, and things not-quite-British that rank Tim Curry among the funniest Britons ever to defect to Hollywood.

Madeline Kahn, too, liberally sprinkles commentaries, both vocal and facial, into any and all situations, the sheer spontaneity of which make one wonder whether or not they're actually in the script. The line in the show which had me laughing the hardest, anyway, was not really a line at all, but rather a high-pitched, yodeling scream from Mrs. White. (You'll know it when you hear it.) And her operatic descant over the guests' chorus of "For She's a Jolly Good Fellow" had me rolling in the aisle.

Another facet of the movie, disguised by the humor, but every bit as important to one's enjoyment of the film, is the maze of leads, lies, and leaps of logic which ultimately culminates in not one, but three possible answers as to "Whodunnit." And here's the amazing part: each of the three endings (I checked) stands up to close scrutiny of the clues provided earlier in the film. From the time Wadsworth verifies Yvette's mysterious "instructions" until the last pull of the trigger, each minute detail is essential to the plot. A word of warning to the dedicated popcorn-munching detective: the guests at this dinner party are all experts at using comedy to distract. While you're busy laughing at Miss Scarlet in the ballroom, a desperate dinner guest wielding a monkey wrench is hurrying through the secret passage to the study, trying to silence that unfortunate motorist before he says too much....

The film isn't perfect-the physical humor becomes strained at times, and there are a very few lines whose comedic and textual value I question. Still, the film bears enough good comedy and old-fashioned mystery, garnished with a sound track that adds just the right spice to the flavor of both humor and suspense, to earn a "five-star comedy" rating from me.

This is one of my favorite films of all time. It's loaded with outragous, silly slapstick humor and the entire cast is superb! You'll be amazed at how many of the lines and gags get stuck in your head. I'll never be able to forget the flusterd looks of Mrs. Peacock, the wit and charm of Wadsworth or the subtle facial expressions of Mrs. White. Thankfully I'll be able to see all this and more as Clue is finally presented in anamorphic widescreen! The picture is the best yet of this film since it's initial release, but there are moments when the image appears too soft and the entire presentation leans to the dark side (no Star Wars pun intended). The darkness though, does help to heighten the mystery/suspense aspect of Clue. From a purists point of view it's good that the soundtrack is kept in it's original mono, still I'd greatly enjoy hearing a stero or, even better, a surround sound version in the future. Unfortunately there are only 13 chapter stopsincluded on the DVD. Any film requires at least double this amount to be really effective.

Without a doubt the best feature of this DVD is the multiple endings feature. After you select "play" you will be asked if you would lilke the player to randomly choose one of the three endings for you, or see all three of them at the end. Whoever thought of this feature deserves a raise as it greatly enhances the longevity of the disc and brings the film closer to it's board game roots. Now you have the option of really not knowing who did it until the final scenes play bringing suprise into the untold repeat viewings that are sure to occur.

The technical imperfections mentioned before are slight and I believe are primarilly due to original production decisions and the films age. To make a long review short (too late), this is a must own for any fan of one of the numerous stars, comedy or film firsts. You won't be disappointed.

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Almost everybody has played the game Clue. We all have heard of Mr.Green, Professor Plum, Miss Scarlett, Col.Mustard, Mrs.White, and Mrs.Peacock. Now we actually get to see the game on screen.

The story to Clue is a great mystery. Six individuals Mr.Green(McKean), Mrs.Peacock(Brannen),Col.Mustard(Mull),Mrs.White(Kahn), Miss Scarlet(Warren), and Pro. Plum(Lloyd) have all received invitations to a mysterious house. They all have been invited to dinner and have no idea while they are there. When they reach the house they discover that the master is not there, but his butler Wadsworth(Curry) and Maid Yvette(Camp) are the only poeple there. The guests are informed that they are there by the invitation of Mr.Boddy. Mr.Boddy is blackmailing them all and thats the only thing in common the six people have. Then people start dying in the home and now it's up to the whole group to see who is doing it and to see if they can get out alive.

This really was a great cast. It had a bunch of big stars from that day. All have pretty good performances in there roles as the character from the game.

Tim Curry gives the best performance of the movie. Curry is a very talented actor. He's been quite underrated in Hollywood. He really takes the role as Wadsworth the Butler and runs with it. He is such a weasal and nobody plays a character like Curry can.

The other actors in the movie really do give good performances in the movie.

The movie is quite funny and has a bunch of slapstick in it. Mull as Col.Mustard is the funniest out of the six characters because he sets himself up to be made fun of so well. The dialogue is also quite funny and when the characters start ranting it gets quite good. John Landis(Blues Brother, Animal House) wrote the story with Johnathan Lynn writing the screenplay. They've combined for a fantastic written movie.

It's a great mystery and the three different endings are fun. You get all three of them on the DVD and all are enjoyable though some are better than others. You really are kept quite clueless as to who has killed who and that again is credited to the writing skills of Landis and Lynn.

Thi is a funny movie. If you like to play Clue the game then you will definetly enjoy this movie. If you like slapstick comedies you will definetly enjoy the movie as well. This is a funny movie that can be watched by the whole family. So go get Clue and be prepared to laugh and have a good time.

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Of all the `80s comedies to apparently generate some kind of cult following, you wouldn't have imagined Paramount's holiday `85 offering "Clue: The Movie" to be one of them yet this box-office disappointment arrives on Blu-Ray this month, in a solid presentation from Paramount that suffers from the same primary issue as its DVD predecessor.

Originally a John Landis vehicle (he's still listed as an executive producer and receives co-story credit), director Jonathan Lynn's "Clue" is a fast-paced, wacky whoduneit with all the principal characters from the famous Parker Brothers board game assembled for a night of murder and mystery. The cast tries their hardest to make the frantic shenanigans of Lynn's script come to life (Tim Curry is terrific as the Butler, while Martin Mull and Michael McKean provide some laughs as iconic characters from the game), but the problem with the movie is that it often tries too hard to be funny leaving you exhausted by the time the outcome is revealed.

"Clue" was shot with three different endings (A, B, and C) and was originally released that way to theaters, with multiplexes advertising the specific version of the movie they were showing. On its initial video releases, all three endings were clumsily assembled to create a disjointed finale that didn't really work too well.

For the Blu-Ray much like the DVD Paramount has taken the three endings and presented them in a frustrating manner: you can either choose to watch the movie with all three finales (as it was released on video), OR you can choose to watch the film with a random ending selected from all three conclusions. Good idea, right? Well, not if you've seen the movie once, played one random ending, and then viewed the same finale again the next time out! A better idea would've had the viewer select which ending they'd like to see, but alas, once again that didn't happen.

One area, at least, where the Blu-Ray improves upon its predecessor outside of its generally pleasing, AVC encoded transfer which hasn't been doused with DNR is that all of the different endings (including the home video "trilogy" compilation) are available to view separate from the film in the supplemental section, along with the theatrical trailer (in HD). The DTS MA mono audio is fine for what it is (I haven't looked it up but you'd imagine this was one of the last big studio releases to be released in mono), with John Morris' score working as hard as the ensemble cast.

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Clue: The Movie [Blu-ray]

I have to say this is really disappointing.

I have the DVD which is pretty good quality for a DVD, and perfectly watchable on an HD system. However, I have seen the HD broadcast transfer and while it looks pretty good, it doesn't really appear to be worth the money for a minor bump in video quality.

Paramount really missed the boat here as far as extras are concerned. Clue has definitely achieved cult status And as such is deserving of equal treatment.

At a bare minimum, Paramount should have pulled from their vaults and given us the legendary 4th ending in which Wadsworth kills everybody (and made it in for several late cuts of the movie, so prints exist suggesting little effort to add it). This ending has been talked about since the movie was first released, and is included in both the novelization, and storybook released simultaneously with the film. Even some shots used in the trailer and publicity stills were taken from it.

But there was so much more they could have done for this little cult gem in their catalogue, and justified the cost of constomers spending the money to upgrade to BluRay on a movie which plays on DVD pretty well. For instance, LaLaLand Records released the full score of John Morris' music last year, and on that release were two cues that had been cut from the film -the introduction of Miss Scarlet, and the match cutting scene. Even including these two scenes with the alternate soundtrack would have been terrific. And of course, so many interviews that could have been included from Landis and Lynn about how this film came about, with first hand details about how the film was to originally to be set in Flordia ...

And while I appreciate that the original mono track sounds great, honestly isn't that all this movie really had going for it in terms of new technology, considering the quality of the original DVD transfer? The constant rain in the surrounds for instance, thunderclaps, rich orchestral underscore fleshing out the restored picture, effects and dialogue coming from proper perspectives? Remastering the audio track alone would have breathed so much new life into this movie. Surely the original elements still exist ...

Personally I can't imagine any reason to buy the Blu Ray disk unless I just want another case sitting around my shelves collecting dust. the 1080p HD transfer from this BluRay has been available at iTunes now for a while, so I'm thinking this is one for the digital library, especially for the $20 price tag ...

I just don't see the purpose in dumping releases out simply to get them on BluRay, but offering nothing else. Maybe one day Paramount will get it.

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Lady for a Day (1933)

Lady for a DayFrank Capra directed this film twice. The second version was called Pocketful of Miracles, starred the fearless Bette Davis, and was made in glorious technicolor. Both were actually very good films.

I've always been a huge Bette Davis fan so it's interesting that I have a soft spot for the combination of the audacious May Robson and the suave and debonair Warren William, but I think they work off one another really well and Warren William comes off as a more Runyonesque hood with a heart of gold than his counterpart in the later version Glenn Ford. These films were adapted from the Damon Runyon short story Madame Le Gimp.

The plot is fairly simple. Apple Annie (May Robson)is a down on her luck apple vendor during the depression. William's character Dave the Dude is a gambling hood who views Annie's apples as a talisman that brings him good luck. Dave tips Annie well, but she lives in a tenement but uses a swank NYC hotel as her mailing address and that's where the story lies. She is letting her convent educated daughter who is living in Europe subsidized by Dave's generous tips think she is a high society diva.

Annie's lie apparently goes on without complications until she receives a letter from her daughter saying she is coming to NYC with her fiancée who is a nobleman. Of course, this comes with little notice and goes to worse when it looks like her lie is going to be exposed. The rest of the movie involves a collective conspiracy to transform Annie and make her dreams come true.

What makes this story really compeling in both films is that while a lot of the mayhem is played for laughs, there is an underlying sadness in the Annie character that is heartbreaking. Robson was probably well beyond seventy when she made this film. It was completely implausible that she could have been the mother of a young woman, but there is an element of suspension of reason at work here. Her Annie is so sad and sweet that the viewer can totally ignore the age factor and get into the moment of what is going on.

Warren William is admittedly a ham, but he balances irritation with a peculiar affability that makes him come across as a softie when it comes to his good luck charm, Annie. The supporting cast does a good job fleshing out the story, imbuing it with an odd assortment of characters that makes this movie interesting. The hoods in Dave'the Dude's employ include Nat Pendelton, Guy Kibbee, Irving Bacon, and the wonderful deadpan actor Ned Sparks. Perennial wise girl Glenda Farrell play's Dave's girlfriend with charm and a seriously semi-tough edge.

The bonuses on this Blu-ray copy, include Frank Capra Jr.'s commentary and a film essay by Scott Eyeman. It was copied from Frank Capra's personal copy. The quality is o.k., which means better than previously available sources.

This is one of my all time favorite movies! My great-grandmother babysat me whenever school was out. She was a huge movie fan and would tell me stories about where she was in her life when these movies came out. Her favorite director was Frank Capra so when one of his movies came on TV, we stopped everything and watched. This movie was one of her two favorites and has so much to offer. It is a bit of a Cinderella story for a poor apple peddler, it is a comedy, it will pull at your heartstrings it is simply wonderful. If you want a light-hearted, feel-good movie, then this is it. I like this one better than the later version Pocketful of Miracles but both are great.

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Ok. This is my first review. I had virtually no idea what this movie was about,

basically never heard of it. But was familar with Capra's work. This movie

is a hell of little gem. Will actually buy some for friends. Talk about strong endings ! Please put out more classic black and whites on Blu-ray. Many thanks. It was beautiful. Dr. Michael Hauth

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I have seen some awesome reviews. Even Leonard Maltin loves this new restoration of the film! The Before/After segment is very cool, and really shows how much work goes into something like this. It's gorgeous. Oh, and four minutes are in this version that were missing from the original release. So that's great too. Definitely worth the money!!

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Lady for a Day was an original which established a long-running Hollywood genre, and its theme seems so familiar to us today because its storytelling style was widely imitated for many years. It offers a look into a pivotal time in American film history, only six years into the sound era. It also foretells the successful career of one of Hollywood's most charismatic directors, Frank Capra, whose own life story had the same fairy tale quality as the films he made.

In 1933 Capra was a rising star in Hollywood, directing pictures for the upstart Columbia Pictures studio, whose home neighborhood was derided by other studios as "Poverty Row". A Sicilian immigrant, Capra was self-driven to achieve the American Dream, and to do so he created it on film in picture after picture. Lady for a Day was crafted specifically to earn an Academy Award, which neither Capra nor Columbia Pictures had ever won. Utilizing a story by Damon Runyon, Capra and his frequent collaborator, screenwriter Robert Riskin, wove a tale of an impoverished Depression-era apple seller working the streets of the Broadway district in New York City. Apple Annie was also weaving her own tales in letters to her daughter in Europe, chatting about Annie's fanciful life of wealth and success. Typical of Damon Runyon, the story is replete with soft-hearted gangsters, flummoxed cops, and politicians capable of grand and magnanimous gestures.

The impending visit of Apple Annie's daughter from Europe, with not only her suitor in tow, but his aristocratic Spanish father as well, pitches Annie (Broadway actress May Robson) into despair, and the gangsters into action to make Apple Annie into a lady for a day. "Dave the Dude" (Warren William) orders his henchmen to pretend to be the high-society types with whom a grand lady would associate, just long enough to convince the Count that Annie's daughter is worthy of marriage into his family. Comic relief is provided by pool-shark "Judge" Blake (Guy Kibbee) who is to portray Annie's wealthy and influential husband, and Dude's wise-cracking sidekick Happy (Ned Sparks).

Lady for a Day was Capra's breakthrough picture, and he filled it with the teary-eyed pathos and whimsical comedy that became his trademarks. It was nominated for four Academy Awards: Best Picture, Best Director, Best Actress and Best Screenwriting. At the awards ceremony it lost all four, and in the most humiliating way imaginable. Host Will Rogers opened the envelope for Best Director, and in his typical folksy way, drawled that he had "known this boy for many years". Not mentioning either the full name of the director or the title of the winner's film, Rogers said "come on up and get your award, Frank". Unfortunately there were two "Franks" nominated for 1933, and both started toward the stage. But it was Frank Lloyd who had won for his film Cavalcade. Capra had to slink back to his table, calling it the worst experience of his life. But it set the stage for the 1934 Academy Awards, when Capra's It Happened One Night swept all five major awards, including Best Director.

The beautiful Blu-ray restoration of Lady for a Day was made from a print owned personally by Frank Capra, and provides a luminous and nearly perfect look at the film techniques of the 1930s. It is certain to be enjoyed by any fan of Capra, or of the films of a bygone era.

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Perfect Understanding (1933)

Perfect UnderstandingAs a classic film enthusiast, I was somewhat surprised that I'd never even heard of the 1933 Ealing Studio release "Perfect Understanding." Not only does it carry the Ealing brand, it boasts a screenplay by the great Michael Powell and lead performances from Laurence Olivier and Gloria Swanson. Heck, that's all I need to know! Sign me up. Billed as a romantic comedy, I'm not sure the movie entirely succeeds under this description. With aspects that veer from slapstick to complete melodrama, the tone of "Perfect Understanding" veers all over the place. An unconventional domestic drama centered around infidelity (both imagined and real), there are some aspects of the movie that play deadly serious. These moments are (for my taste) the strongest in the film. When it plays for a lighter appeal, the manic energy can feel somewhat overdone and chaotic. At times, it seems as if two different movies are competing against one another. But despite these reservations, it's still a easy recommendation for fans of Olivier and Swanson! They make the picture worth a look!

Swanson and Olivier play a young society couple who don't want to fall into the same trap as their other married friends. They want a marriage in which they can retain their independence without all the baggage of traditional domesticity. It's a fine arrangement (a perfect understanding, if you will) in theory, but somewhat harder in practice. After a blissful honeymoon, the couple separate at the end of their vacation. With Olivier enjoying the festivities of Cannes, his old circle of friends and a former flame end up sharing time with the new groom. Can he withstand the temptation of another woman? Coincidentally, Swanson also has another suitor on the home front. When the couple reunite, how much honesty can their relationship bear? Between real offenses and certain misconceptions, this marital experiment seems doomed to failure. Can love prevail? Should it?

I really liked Swanson and Olivier together. Swanson was trying to establish herself in the talkies after being a silent screen star and she even produced this movie (the only film she ever made in Britain). Olivier was a stage star (a trained Shakespearean actor) newly into a film career. They have an easy chemistry and charm to spare. If you know them primarily from their later works, this more lightweight piece is an interesting counterpoint. Olivier, in particular, is downright dashing! I don't think "Perfect Understanding" is an essential classic, by any means, but it is definitely worth a look. The early scenes are especially jumbled with dozens of characters and relationships thrown at you rather haphazardly. Things start to settle, however, once we leave this extended opening. Again, I probably wouldn't classify this as romantic comedy (although some might). To me, it's more of a relationship drama with some lighter moments. KGHarris, 5/13.

I love classic films. Especially old black `n whites. I couldn't say why exactly. I think it's that they're a bit more primal about how they had to approach the filmmaking process. They didn't have all of the tricks and twists of special effects and fancy-pants editing, so they were largely confined to using dialogue that great, great form of communication to convey so very much of the story. Without good, snappy dialogue, those movies of old were destined to one day end up on the trash heap. Consequently, I think they produced better screenwriters folks who had a learned ear for what sounded right, what conveyed the proper sentiment, what captured a precise emotion for their audiences. Still, it's a shame that more of these `classics' don't get the treatment PERFECT UNDERSTANDING has; it's an impressive discovery, and I can only hope there's more to come from the folks behind the Cohen Film Collection.

(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and characters. If you're the kind of reader who prefers a review entirely spoiler-free, then I'd encourage you to skip down to the last two paragraphs for my final assessment. If, however, you're accepting of a few modest hints at `things to come,' then read on ...)

Judy Rogers (played by the forever lovely Gloria Swanson) and Nicholas Randall (a young and thin Laurence Olivier) are socialites in love. However, they see couples all around them mired in one unhappy marriage after another. Hoping to `buck the trend,' Judy and Nick decide the best they can do to preserve their own relationship magic is to draft a "marriage agreement," one which promises they will never argue, they will always treat one another as lovers, and they will always respect one another's private happiness. What appears to be a perfect understanding only leads to the discover of one imperfection after another as Nick succumbs to the charms of a former lover (Nora Swinburne) and Judy almost falls into the arms of another (John Halliday). Can they find happiness again or are they now destined for divorce?

Wow. Talk about a real eye-opener! PERFECT UNDERSTANDING was way ahead of its time. In fact, the agreement fashioned by the two lovebirds in the opening could almost be likened to an `open marriage' by contemporary standards. In fact, his own personal guilt forces Nick to confess, and Judy appears perfectly willing to forgive him; that is until she divulges her marital woes to her old friend, Ivan. To make matters worse, Judy realizes she's pregnant while it's clear to her that the child belongs to her one and only true love, Nick's suspicions only serve to push the two of them further and further apart. What's amazing is how open and nonchalant the script by Michael Powell treats all of this, almost as if this were the status quo in marital relationships of the time. I daresay it wasn't this was 1933, after all though Hollywood socialites and debutantes were always `ahead of the curve' when it comes to social mores. That much hasn't changed.

The film is smartly directed from staging to cinematography by Cyril Gardner. Gardner made impressive use of some vast interior sets, and he moved the plot along briskly by making extensive use of some rather elaborate video montages to establish the passage of time as well as the build-up of marital tension. Also, it's exciting to see Olivier so fresh and new in his career (promotional materials provided to me with the release point out he was only but a few years along in film); and, even at this ripe age, he was a master at the witty banter establishing the high points of his love with Judy (Swanson). The two of them handle both ends of the scale with great skill the first half is punctuated by their constant repartee while the latter half is richly nuanced with desperate, longing expressions of their mutual torture.

Billed largely as a "comedy of manners," UNDERSTANDING may not be PERFECT, but it's pretty darn close, and it's pretty darn impressive.

PERFECT UNDERSTANDING was produced by Gloria Swanson British Productions (the only film she made in Britain). DVD distribution is being handled through Cohen Media Group. As for the technical specifications, the film looks and sounds very solid be aware this is a (standard) two-track audio, and there's some marked gaps in quality in the first fifteen minutes or so, but it clears up as the film progresses. The Blu-ray release is blessed with two selected shorts from the era (two Mack Sennett shorts "Husband's Reunion" and "Dream Stuff").

HIGHLY RECOMMENDED. Given the era, it's certainly an exercise in some curious morality. PERFECT UNDERSTANDING is a wonderful find from Cohen this is its Blu-ray and DVD debut. It's been longingly restored for this release, and who wouldn't want to experience this Gloria Swanson/Laurence Olivier rom-com now that it's available? The script captures the marked trend of the time to propel the narrative through the use of clever dialogue and it's brilliantly delivered by two masters of the craft. I'll admit it dragged a bit for me in the last fifteen minutes that's when the marriage is coming apart but rest assured there will be a happy ending for those who work for it most ... just like in life!

In the interests of fairness, I'm pleased to disclose that the fine folks at Cohen Media Group provided me with an advance DVD copy of PERFECT UNDERSTANDING by request for the expressed purposes of completing this review.

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Laurence Olivier made his first movie in 1930 and paired with silent screen Queen Gloria Swanson in 1933, who traveled to England to make this melodrama. This is a beautiful print for an 80 year old movie. However, it really isn't very good. It looks like a Norma Desmond return to the silver screen. However, if you like or collect old movies, then this one is a find.

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This is a great little travelogue of a film, with great shots of various European locations, back before both WW2 bombing and later, globalization, had tampered with the scenery.There couldn't have been much international tourism in 1933, so these characters are indeed priveleged. Olivier seems very good here, not insufferably intense and hard to believe as he became after he returned to England in the 40's (though this is apparently an English film, with Gloria Swanson as a producer and other American actors it doesn'seem so.)

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Hope Springs (+ UltraViolet Digital Copy) (2012)

Hope SpringsMeryl Streep, Tommy Lee Jones, and Steve Carell prove their worth as actors in roles they seldom play, but they all did a stellar job. As usual for these box-office hit professionals. Carell as Dr. Feld who takes a week to turn a stagnant 31-yr-old marriage on it's un-bridled love heals. Kay and Arnold are the couple who have to face marriage sexual reality in front of a shrink. Viewers feel as awkward as the characters are portrayed. Good acting makes this good story achieve greatness.

It's scenic, since the Omaha couple travel to Great Hope Springs, Maine for the intense week of therapy. And it's quite believable. It's emotional, like the struggles and high points of a real marriage after 31 years. In Feld's office, it goes from pathetic to comic. Intense to relief. Moments of endearment and others where the revelations become loud and in-your-face. Sometimes I wished I could hide myself, other moments I squeezed my wife's knee. She watched in the theater seat beside me. She immediately informed me we must buy the DVD when available.

OK, it's not for all. It's targeting older, mature viewers.

Teens will growl "gross" during the clothed sex scenes.

Young marrieds may envision their parents or grandparents.

Ladies 40 & over will find it lusciously romantic.

Older men will/can learn a few tips to sweeten your own sweetie. Works for me, 64 and alive.

Anyone calling this well acted encounter "far fetched" just isn't old enough to have been there...yet.

(2008 HOLIDAY TEAM)When I saw Meryl Streep play the seemingly facile Omaha housewife she portrays in this 2012 marital dramedy, I had an immediate flashback to an underrated romantic drama she did almost thirty years ago, Ulu Grosbard's Falling in Love (1984), in which she played a young married woman who couldn't help falling for a married architect (Robert De Niro) on a commuter train. I kept thinking of Kay as that earlier character all these years later trying to fan the embers of the passion that erupted so unpredictably back then. Interestingly, her younger character could not consummate the affair either but fell hopelessly in love anyway. Director David Frankel (The Devil Wears Prada) and first-time screenwriter Vanessa Taylor travel to the opposite end of the marital spectrum, a 31-year-old marriage that finds Kay and her accountant husband Arnold sleeping in separate bedrooms having long ago lost any sense of intimacy and passion their marriage once had. The film begins with a seriocomic preface in which Kay awkwardly tries to seduce Arnold, an invitation he rebuffs with the flimsiest of excuses. Knowing their marriage is on auto-pilot, she fears being alone emotionally and ending their lives in emotional isolation now as they go through the motions in their sixties.

An optimist despite the odds, Kay signs them up for a week of intensive couples therapy in Great Hope Springs, Maine, where renowned therapist Dr. Bernie Feld practices. Arnold is predictably resistant but begrudgingly accompanies her when he realizes how serious Kay is about the counseling. The sessions with Dr. Feld initially don't go well with Arnold protesting the doctor's every recommendation for building intimacy in his relationship with Kay. This is when the movie becomes the most surprising because every time a physically awkward moment presents itself, the feelings become heartfelt and sometimes humorous in unexpected ways. While Frankel and Taylor handle the slim story turns with genuine insight, it's the masterful work of Streep and Tommy Lee Jones that elevates the film into an experience that far transcends the Lifetime-TV orientation you would expect otherwise. Unafraid to come across as harshly judgmental, Jones has made a career of playing dyspeptic curmudgeons, so it's nice to see him gradually reveal Arnold's vulnerabilities with skill and delicacy. He has to play Arnold close to the vest but not so insular as to make you wonder what Kay saw in him in the first place. After tackling larger-than-life figures like Julia Child and Margaret Thatcher, Streep is splendid portraying a sheltered woman who contributes as much to the fossilized, inchoate marriage as Arnold does.

At 63, the actress allows herself to look even beyond her age, but she's still beautiful in a shopworn way. I love how she almost swallows every word she speaks as if Kay's tentative nature is holding back grand expectations of a romance she can only fantasize about. The two veteran actors have a natural rapport that gives the viewer a rooting interest in seeing them overcome their age-old emotional and physical barriers. There are moments between them especially in the film's last third that are quite heartbreaking, especially when they come to learn that they aren't the people they believed themselves, or each other, to be. Steve Carell plays Feld straight-up without an iota of irony, and his clinical approach works effectively within this context. The rest of the supporting cast makes very little impact, including Jean Smart as Kay's sassy manager at the Coldwater Creek she works part-time, Elisabeth Shue as an equally sassy barmaid counseling Kay on sex, and Mimi Rogers as the final payoff of a joke about a comely (and yes, sassy) neighbor with a trio of corgis. The young actors who play Kay and Arnold's adult children are barely present, but I'm sure that was part of the intention in order to allow complete focus on the couple. Frankel overdoes the soundtrack music when moments of silence would have been far more effective, but otherwise, the tone feels spot-on.

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Reviewed by KIDS FIRST! Film Critic, Victoria B, KIDS FIRST! Film Critic.

I went to see this movie with my mom and she was freaking out and covering my eyes in some parts, I thought it was funny and that she was overreacting. After the movie I had to remind her that I am fourteen. This movie is about a married couple of thirty-one years, Kay (played by Merryl Streep) and Arnold (played by Tommy Lee Jones) who love each other so much, but have not been affectionate or intimate with each other in many years. They even sleep in separate rooms, and on anniversaries they get gifts not for each other, but for the house. Kay gets sad at the reality that she and her husband do not have a real relationship. So she gets a book about marriage and calls the couple's counselor and schedules the intense therapy to fix her marriage. At first Arnold refuses to go, but then reconsiders when Kate leaves without him, then reluctantly he goes with her because he does not want to lose her. All throughout the movie Arnold is uncomfortable with therapy, and especially the intimate tasks assigned by Dr. Fields (played by Steve Carrell). While Kay really wants to have a "real" relationship, Arnold is tentative and they battle with this throughout the whole movie. This movie was very sweet in a weird way because it is based around an older and very in love couple that struggles with intimacy and I guess for a young audience, that visual would gross them out. The soundtrack in this movie reminded me of music in a silent film because music is included in most scenes and they describe the scene, even if the words are not there. Tommy Lee Jones is very versatile as an actor. I have never seen him play a domestic character or anyone in a relationship, it is refreshing and he does a great job. This movie makes me see the power in love and determination to sustain it. My mother was shocked by some scenes but then laughed, so this would be a great movie for couples who are in a long relationship. This is a very intriguing movie, I have not seen many with this concept, so I give it five out of five stars. I recommend this movie for mature 13-year-olds and up. This is a good movie for a mature crowd.

Video reviews available at kidsfirst dot org

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I took my mom and sister to see this. Purposely put my sister between me and my mom (I had read it was more drama than comedy. And I had heard about the theater scene). Within 5 minutes I was choking up. Don't get me wrong, there are times of absolute hilarity, the audience was roaring with laughter at a lot of scenes. However, it just struck me as a more realistic portrayal of life. Honest. Everyone's hopes, dreams, wishes.....and the inevitable feeling of those dreams drifting away. But then resulting in a journey of acceptance and love. For me it was an emotional kick in the gut. Maybe that's just me. But this film made me a blubbering idiot. If you have parents that are getting up there in age, and you are feeling this creeping up on yourself as well, fair warning. Do not let this film bypass you. Meryl Streep tore at my heart. Amazing, seemingly effortless work by her. Yes, her again. For those who criticize her work as being too, for lack of a better word, "studied" or "educated", you can throw that out the window with this. Just her facial expressions killed me, no words, just an everyday person's feelings flowing across her face. So realistic. Tommy Lee Jones---hilarious, heartbreaking, a performance that was every bit as realistic. He was awesome. Even though I had tears running down my face practically the entire time, I'm getting this DVD. Can't wait to see it again---but in the privacy of my own home---where no one can see me balling my eyes out. I'm a wuss. Rating: A

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My wife of 42 years dragged me to see this movie. I expected to be lectured, and was, about taking your spouse for granted. What I didn't expect was to be taken in by this movie to the point where I ordered a copy. Streep and Jones took a preachy movie and made it entertaining. Not for young children, though. You will have some explaining to do that will make you squirm.

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The Devil and Miss Jones (1941)

The Devil and Miss JonesCharles Coburn plays J.P. Merrick, the wealthy, sinister millionaire and owner of his own department store, where the overworked and underpayed workers, led by Joe O'Brien (Robert Cummings) are protesting. In order to eliminate all the ringleaders of the employee protest movement, Merrick, who's face isn't known by any of the employees, changes his name to Tom Higgins and becomes an employee in his own department store. While working in the dreaded shoe department, Higgins meets the charming Mary Jones (Jean Arthur), who takes pity on Higgins and befriends him, not knowing that he's her evil boss.

Higgins, when not gathering the names of protesters in his organization, also falls for one of his "co-workers", Elizabeth Ellis (Spring Byington). Higgins is faced with a problem however, when he discovers that Mary Jones' boyfriend is none other than Joe O'Brien. Yet over time Higgins' unlikely friendship with these people makes him forget about his sinister original plan and he becomes a new man who cares for his employees.

Now that the equally great comedy with Charles Coburn and Jean Arthur, "The More the Merrier", has been released on dvd, why can't this underated classic get a dvd release? Sure, some of the dialogue is dated and corny, but that's just part of the charm with an old-fashioned comedy like "The Devil and Miss Jones". Jean Arthur was terrific and absolutly charming as usual, but Charles Coburn really stole the show with his great performance. Charles Coburn was an incredible actor who could play very likable characters, or the worst of villians, as in "Kings Row". Robert Cummings was good in this as well, although his speech at the police station was vomit-inducing. The supporting cast, especially Spring Byington and Edmund Gwenn (who plays the grouchy section manager of the shoe department where Higgins works) is wonderful. Surely we won't have to wait too much longer before this great comedy is released on dvd!

Among the Classic Film couples, there are Garbo and Gilbert, Gable and Crawford, Tracy and Hepburn, but I have discovered that there is also Arthur and Coburn, an unlikely couple, but nevertheless one of the most engaging.

Two films: "The More the Merrier" and the one I'm reviewing now, "The Devil and Miss Jones" are the testimony of the great chemistry and rapport that existed between this two great comedians, Jean Arthur and Charles Coburn.

Last night I watched this wonderful Comedy for the first time and believe me, I hadn't seen a Comedy of this quality and class, in a long time. It's so perfect that it's difficult to really describe the effect it had on me.

The plot of the film tells the story of what happens when a millionaire (Coburn), who among many, many assets, owns a Department Store in New York, arranges to be infiltrated into the Store as a simple Shoes (more precisely "Slipper") Salesman, in order to investigate who, among its employees, participated as agitators and were responsible for the hanging of his effigy, when protesting against the Store's policies regarding workers, working conditions and Unions.

Among the employees of the Store, Coburn meets fellow Shoes Saleslady, Jean Arthur, who befriends him, not only believing he's an employee, but also a poor, almost destitute old man.

Coburn is delightful as the millionaire; I'd dare to say that it's his best role ever, along with the one he played in "The More the Merrier". Jean Arthur plays much more a "human" character than a plain-comedic one and Bob Cummings is also very good as her boyfriend and the main "agitator", getting to play together a couple of very believable love scenes.

An excellent supporting cast includes among others, Spring Byington as Arthur's sweet friend and co-worker, Edmund Gwenn as the rather nasty Head of the Shoe Department and S.Z. Sakall as Coburn's butler.

Kudos to Norman Krasna for his excellent screenplay and for the handling of social issues regarding Labour, which are timeless and still very pertinent.

This film ought to be on DVD.

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in this very funny story of how the richest man in the world decides to go undercover as a shoe salesman in a store he forgot he owned until labor agitators hang him in effigy. It's Charles Coburn's intention to infiltrate the labor movement and bring these "wrongdoers" to justice or at least unemployment. He doesn't bargain on what happens when he begins to rub shoulders with the hoi polloi, and how meeting with the peppy Miss Jones (Jean Arthur) will change his outlook on labor and ultimately life.

Jean Arthur is very appealing as this working class heroine, but it's Charles Coburn who runs away with the picture. His transformation from a Rockefeller-type cold as ice businessman into a tuna popover eating funlover is aces, especially in his dealings with the surprisingly unpleasant Edmund Gwenn as the manager of the shoe department. Ironic that Gwenn returned to the department store scene a few years later to buck authority himself as Kris Kringle in "Miracle on 34 Street". A point worth noting is that much of the dialogue concerns the misunderstanding about Coburn's true identity, and his consequently being abused as an older worker with limited skills in an emerging modern world. Although 60 years ago, this still rings true today, and gives us some food for thought.

This picture has only two things going against it: First is its terrible title. Not only does it not really make any sense given the plot of the film, but it later got co-opted as the title of a famous porn film, "Devil IN Miss Jones", so that even the librarian where I took this out gave me the once over, thinking I was taking out a smutty film. I'll bet few people ever do rent this movie because of its dubious monniker. The second thing that's not so hot is a police station scene where Robert Cummings tries (and fails) to be a Capra-esque "ordinary man" hero bucking authority by appealing to the Founding Fathers' principles. The scene is so bad it brings the movie to a complete standstill; I was afraid it would be downhill from there, but it picked up again. My advice is that should you ever rent or buy this film, as soon as Cummings enters the station, fast forward to the next scene to save yourself some grief.

Other than those two points, "The Devil and Miss Jones" is a real winner, and I still give it five stars for a funny script and Coburn's marvelous performance.

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I just caught this film one late night on TCM. I was familiar with the title but had never seen it before. What a simply wonderful comedy which stars the beautiful Jean Arthur, the gruff character actor Charles Coburn, as well as Bob Cummings and Edmund Gwenn. Coburn is J.P. Merrick, the millionaire owner of a large department store. When the employees of the store start trying to organize a union, he decides to go undercover to find out who the ringleaders are. He takes a job as a shoe salesman calling himself Tom Higgins. He is immediately confronted on his first day by the shoe department manager Mr. Hooper (Gwenn) who plays a nasty role for once and tells Higgins he had the lowest intelligence score he's ever seen.

Tom is assigned to sell women's slippers and befriends two women In the department, Mary (Arthur) and Elizabeth (played by Spring Byington). When Tom says he doesn't eat lunch, the women take pity on him because they think he's broke and give him money and some of their food. Later Tom agrees to meet Mary at night and soon finds himself in the middle of a hopeful union meeting. It turns out that Mary and her boyfriend Joe (Cummings) are the ringleaders and even use "poor" Tom as an example of a man who's down on his luck due to being tossed out by his previous employers.

At work, Tom is constantly under criticism from Hooper who thinks he's too old for the job. Tom keeps a notebook and writes in bold letters "Fire department manager!!" He wants to do a good job and so he his butler come in with the daughter of one of the servants to buy a dozen shoes. The plan goes hilariously awry when the girl screams she doesn't like the shoes and Hooper decides to take over AND get credit for the sale.

And so it goes with Merrick as the fish out of water, learning not only about these employees but himself as well. In another scene Tom and Elizabeth join Joe and Mary for a day at Coney Island beach. Tom brings along some very expensive wine but the others think he was taken with some cheap stuff and it makes for a classic clash of cultures.

The Film was directed by Sam Wood who made such classics as Goodbye Mr. Chips, A Night at the Opera, And the Pride of the Yankees. The film is very Capra-esque however with great performances from the entire cast. Hilarious, poignant and warm.

Reviewed by Tim Janson

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The star of this video is Charles Coburn and not Jean Arthur: the comic old goat steals the movie once again, as he did in "The More the Merrier," and other comedies from this era. But the supporting cast is superb: the comedic Jean Arthur, Bob Cummings from the early TV sitcom, "Love that Bob," Spring Byington, who starred in George Kaufman's "You Can't Take It With You," and Edmund Gwenn, Kris Kringle himself of "Miracle on 34th Street."

Determined to find the employees creating a union problem in his store, Charles Coburn, the wealthy owner of the department store and business tycoon, goes undercover and poses as a clerk and works humbly behind the counter, and is abused and bullied by management until befriended by Jean Arthur, Bob Cummings, and Spring Byington....This movie is a fun indictment on capitalism--when such was allowed in Hollywood, prior to the blacklisting days of Joe McCarthy--and a call to more socialistic values. When would a business tycoon take his entire staff of store employees on a cruise to Hawaii just for the fun of it? Move over, all you CEOs....If only all such miraculous conversions could occur in the workplace within a span of 92 minutes!

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Under the Tuscan Sun (2003)

Under the Tuscan SunWhat starts out as an Italian "Money Pit" with all the attendant broken pipes, crumbling walls and incompetent handymen makes a turn for the better about a third of the way through: a more emotionally centered and revealing movie,"Under the Tuscan Sun."

The luminescent Diane Lane stars as Frances, an intelligent, loving women with close and committed friends who finds herself in a situation that many people do: with a mate who has fallen out of love, wants a divorce as well as possession of a much loved and painstakingly renovated house, this one in San Francisco. After the divorce Frances goes to Tuscany on a lark, falls in love with a villa there, buys it and proceeds to renovate it. The villa then is the physical manifestation of the shedding of her old life and marriage and the hope for the renovation and rehabilitation of her love life as well as her life in general.

That she probably places too much faith in the physical to solve the emotional does not detract at all from the guts and hope that it takes to do so. And Lane is so psychically centered and open as Frances that you cannot help but be moved by her situation.

There are some silly plot lines and performances that I wish weren't, but with a central performance as attractive and genuinely loving and feminine as Lane's, "Under The Tuscan Sun" is as warm and inviting as bread just out of the oven.

I am peturbed that Amazon would spotlight two bad reviews. This was an awesome movie that kept me watching it from beginning to end. I haven't read the book, but after watching that movie, I do intend to. It's amazing how uplifting this spirited movie was. Diane Lane was supurb without coming across as trying too much. We never get to see her husband "Tom" who screwed her over royally in the divorce, which I think was a good decision. The movie stays in the present looking ahead to the future with a sense of hope and promise. Pick up this movie for an excellent movie night even if you're not a chick!

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We'll I'm not usually one to go to see comedy-romance films but my girlfriend insisted and I was persuaded by the fact that Diane Lane (one of my favorite actresses) was starring in it. Honestly, this is a very good movie. It is one of the best surprises of the year. The film is edited in a way that never makes it seem boring or long-winded and the film is very (I mean very) entertaining, with some great dialog and some excellent comedy and well-timed laughs. A few times I was uncontrollably laughing it was so funny. The acting was amazing with Diane Lane giving one of her best performances in the lead role as Frances Mayes. The film looked great and had an excellent soundtrack as well. I recommend this film very much indeed, even to guys because it isn't cliched and slushy in the same way other romantic films are. It sure makes a great date movie Under The Tuscan Sun is a marvel!

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I actually spent a year studying at a small italian university, fell in love with the country, and expected to HATE this movie because I really got sick of the American presence in italy. I have to admit, though, arguing with some of the previous reviews that I saw, that despite all of the stereotypes, they were mostly true! Certainly true to my experience. Italians are proud of who and how they are and although I didn't meet a single person who spoke english as well as anyone in this film, that was the only stretch as far as I could tell. Its an absolute pleasure to watch, especially for anyone who has been to Italy. And Diane Lane is adorable and full of life, almost inspirational.

See this film if you want to escape to Italy for 2 hours and be a single, liberated, middle-aged woman going on an adventure. That's really what it is good for transporting us americans away from our own "culture" and into a place that has a real sense of history and people.

Cheesy but delicious.

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This film was a very pleasant surprise. I picked it out as a movie for my girlfriend and I to watch, since I had heard good things about it several years ago. This IS a chick-flick type of movie, but it definitely does not follow the same VERY tired romantic-comedy formula script that Hollywood loves to crank out. Yes, I suppose Under The Tuscan Sun is a romantic comedy, but it is a GOOD one, and it is fairly original in its approach.

First, I should say the beautiful Diane Lane is a really great actress, and plays her part perfectly here. You truly believe in her character, which really adds to the believability of the film (suspension of disbelief is important to enjoying a movie). Most of the supporting cast does an excellent job as well (with the slight exception of "Stone Face" Sandra Oh, her face always seems devoid of emotion to me). Probably the most important member of the supporting cast is the SCENERY. The landscapes showcased in this movie are gorgeous and pretty astonishing. The excellent cinematography takes full advantage of the beautiful scenery Italy provides, and the movie is all the better for it.

While the film is not outright original per se, it does take a rather fresh approach to romantic comedy, and you won't be able to predict what is going to happen far in advance (when's the last time you could say that about a romantic comedy??). The script is very good, with quite a few laughs and excellent pacing, and the dialogue is sharp. All in all, a VERY GOOD movie that both men and women can enjoy.

A couple of other things: apparently, the film radically departs from the novel. I didn't read the book (and have no intention of doing so). You won't need to read the book to enjoy this movie. Also, I read a few gripes about Diane Lane not being 'beautiful' because she is 'old'. A matter of opinion I guess, but to me she looks fantastic in this movie at 38... and she really IS a great actress.

Under The Tuscan Sun is RECOMMENDED for anyone looking for a 'couples' movie that both will enjoy (but Macho He-Men shouldn't bother, you only like Rambo type movies).

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Lock, Stock and Two Smoking Barrels (Blu-ray + DVD) (1999)

Lock, Stock and Two Smoking BarrelsIf you own the previous edition of Lock, Stock you might really want think about if it is worth double-dipping. The transfer for this one is as good if not slightly worse than the previous 2003 release. There are only two (slight) new extras on this edition. "One Smoking Camera" features the film's cinematographer talking about how he shot the film. He takes us through a few key sequences and shows how they were shot or edited.

Finally, there is "Lock, Stock and Two F**king Barrels," a montage of colourful insults and curse words used throughout the film by various cast members.

Why the extras on the superior Region 2 release weren't ported over is a mystery and as a result this edition is really not worth your time.

I was fortunate to have seen this film prior to it's American release in London where I was attending my brother's wedding in 1998. I was totally blown away by this high energy caper film. My first reaction was to compare Ritchie's style with that of Quentin Tarantino. On subsequent reflection,no, director Guy Ritchie with this film and the subsequent "Snatch" has a style all of his own. What impresses is the way Ritchie handles all of the storylines in this densely plotted story. He also does it in such a quick-cutting, high-energy style that you have to stop and catch your breath. Ritchie also gets the most out of a mostly unknown cast. Most impressive is Vinnie Jones, a former rugby player known for his agressive play on the field, as a formidable debt collector. It's a shame that the best he could do in American films was that lame remake of "Gone in 60 Seconds". My understanding is that Ritchie populated the film with alot of underworld types and that may account for the realism. Here's hoping that Ritchie gets back to his roots with his upcoming feature after the misfire that was "Swept Away".

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Guy Ritchie is not only an amazing director, but he's attached the most unusual and awesome mix of music to this classic-to-be movie. This CD is for anyone who enjoys something away from the normal. BE WARNED!! There are two versions! I myself accidentally bought the American version, HUGE MISTAKE!!!! It lacked many delicious songs that were vital for maximum enjoyment. Please do NOT make the same mistake I did, buy the Imported version, do your research, you'll see. ENJOY!!

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After all of the hyped Tarantino wannabe films of the early 90's, I was more than a little reluctant to see this film, because I was told that it followed that mold. However, I was pleasantly surprised and excited about this Brit gem that I feel is far superior than 'Pulp Fiction' or any of those other movies. Perhaps because it takes place in England, and it contains a lot of words and things that I have never heard before, but I just love this film to death. The story of four friends who find themselves heavily in debt after one of them loses big money to a local gangster, hilarity ensues as they figure out a way to get the money by the end of the week. Throw in two ancient shotguns, a bunch of clueless druggies, a few more badass gangsters and a huge case of mistaken identity, and you get one of the freshest films to be released in America for a long time. Everything is perfect--the cast, the plot, the characters. I was laughing so hard, tears were rolling down my face. If you haven't seen this film yet, you must. It is so funny, you'll want to watch it over and over again.

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I have both the SD version of Lock Stock and Snatch, I rank this movie in my top 10 all time list. It's just a brilliant movie!!

HOWEVER, the Blu-ray version is VERY poor quality, the SD DVD version actually looks better. There is A LOT of graining in the Blu-Ray version, it's as if they got the compression all wrong. I'm running this from some high end audio/video equipment on a 63" Mitsubishi DLP and Sony BD player thru Harmon Kardon (all have the most recent firmware updates) -this is the ONLY BD I've purchased that has this terrible graining. Even tested it on my MacPro using my LG BD player and noticed the same graining problem.

I came up with a 3 rating because the film content is excellent worth a 5 star, however, the BD image quality get a 1 star, hence the resulting 3 stars. Unfortunate mess up, but I have to say go with the standard SD DVD version.

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The Details (2011)

The DetailsI don't like reading long reviews, so I'll be brief:

1. If you like dark comedies, this is for you. Just buy it right now.

2. If you're still on the fence, I loved the ending.

3. You still don't know if you want to get this? Casting was superb. I wasn't so sure about Tobey who is just so darn nice, but by the end of the movie, you'll agree that Tobey was ideal.

4. Okay, this is not a terribly deep movie, but I enjoyed the full 101 minutes of it. Isn't that the definition of a 5-star movie?

THE DETAILS is a wickedly delicious dark comedy...a very dark comedy.

Tobey Maguire plays a young married doctor whose life seems to be continually spiraling downward, primarily because he keeps making poor choices. It's not that he's really a bad person; it's just that he seems to get himself trapped in desperate situations and, in order to save himself at the moment, he makes the wrong decision.

I'm not sure if Tobey's problems started with the raccoons that were destroying his lawn or his deciding to renovate his house without getting a building permit. Or, maybe it was the fact that he and his wife (Elizabeth Banks) had not had sex in many months.

Would you believe that any one of those seemingly relatively minor events could result in murder?

I don't want to be a spoiler, so I'm not going to detail the events that cause Tobey to sink further and further into his quagmire. Watching him do so is half the painful fun of this likable offbeat movie, written and directed by Jacob Aaron Estes.

THE DETAILS was filmed in Seattle and features a superb cast of supporting players that includes Dennis Haysbert, Ray Liotta and Kerry Washington. Laura Linney, who plays Tobey's whacky and meddlesome neighbor, delivers the film's scene-stealing performance.

The Blu-Ray disc from Anchor Bay Entertainment include a both an alternate beginning and ending, both of which were best left on the cutting room floor.

© Michael B. Druxman

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I love an oddball quirky indie, when it doesn't try too hard to be an oddball quirky indie. You can pretty much surmise the plot from reading the cover. Jeff (Tobey Maguire) has not been having sex with his wife (Elizabeth Banks). Romantic that he is, he asks her by spelling out the F-word. He confides his problem in a friend (Kerry Washington) listed as "the other fling" on the cover. They are caught by her husband (Ray Liotta) listed as "The Problem" who demands money. His rodent problem leads to other issues which include "The Fling" with the "wacked out" neighbor(Laura Linny). And since there is a guy called "The Fixer" (Dennis Haysbert) you can only guess correctly at this one.

The film had a great plot and the acting was great except for the lead. It was clear the cast was acting rings around Toby Maguire who doesn't have the talent to be a leading man. Similarly this reminded me "Snow White and the Huntsman" where our leading lady stood out like a sore thumb. If you like dark comedies and can stomach another bad performance by Mcguire, go for it.

Parental Guide: F-bomb, sex, brief shot of Elizabeth Banks butt.

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Tobey Maguire (miscast, got no business playing opposite anybody as hot as Elizabeth Banks [Sorry Spidey], but still it sort of works) is a doctor who gets himself in what appears to be a minus five sit-com. The absurdity had me wanting to get up and leave 4 or 5 times, but just when I thought all was beyond hope, things started to improve up to the crescendo where Toby uses his Prius to commit the murder of an errant raccoon, and confesses everything to Banks including knowledge of a murder. It is an absolutely outstanding scene, and lifted me up out of the muck I'd been wallowing in.

Suffice it to say that his troubles are initiated by the continuing irritant of excessive bureaucratic government regulations and social pressures (he lives in Seattle and the Prius has an Obama sticker on the bumper, and he's even afraid to hose a raccoon much less shoot it. Guns...ick.) After reciting the litany of his transgressions and betrayals to her in the car, he says, OK, so far that's the good news;. The last 10-15 minutes are priceless and worth the muck to get there. Elizabeth Banks is superb in that scene, and Laura Linney is great throughout as the neurotic, obnoxious next door neighbor. There is also a good scene with Ray Liotta on the bridge that sort of sets up Maguire's catharsis and signals the turning point in the movie.

Could also be titled, The Devil is in...the Details; No Good Deed Goes Unpunished; The Truth Shall Set You Free--Sort Of; & Wherefore Absolution? The philosophical and moral issues it raises could start at least half a dozen threads on a philosophical board all by themselves. 9/10

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I am lazy and disabled and I watch a lot of movies. I have gone a little crazy with buying movies instead of renting so I don't have to drive and they are delivered to me. BUT and this is a big but. Don't be an idiot and buy this movie, rent it.

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One Day (2011)

One DayI have not yet seen the blu-ray. I just saw the movie in theatres. Many times. But I am anxiously awaiting the blu-ray release. It looks like the blu-ray will have all the featurettes available on the film's official web site, as well as deleted scenes. I can't tell what the aspect ratio will be. I'm hoping it won't be letterbox, and that it will fill up the whose screen on an HD flat screen.

If you've read the book, you know this is not a typical happily-ever-after Hollywood romance a la The Notebook. But that is one of the things I love most about it. It has a real, genuine feel to it. Emma, serious-minded, nerdy, wise-cracking and adorable in her insecurity, and Dex, a privileged cad who goes through women like kleenex, are two young people who officially meet on the day they graduate from University, after Emma has crushed on Dex from afar. Their romance was not meant to get off the ground that day, however. But the seeds are sown for a long and abiding friendship that lasts for the next 20 years. We get to check in on what's going on with them one day a year, the anniversary of the day they met. The relationships, not just between Em and Dex, but between Dex and his parents, his wife, his child, Emma's relationship with Ian, and how they each grow through these relationships, are the real heart of this movie. It's really about two ordinary lives in progress, which lends credence to the notion that everyone has an interesting story to tell. Unlike most romances, the main question of the movie is not "will they get together/stay together" but rather "how does their love for each other color the decisions they make and help them through the ups and downs of their individual lives?" and most importantly, "was it all worth it?" As the last scene fades, we know the answer to the last question is a resounding "of course it was."

In my opinion, most of the criticism thrown at this movie was simply groundless. 1)Anne Hathaway's accent. It's not Gwyneth Paltrow flawless, but it's serviceable and doesn't detract from the story. 2) Anne's character Emma is bland. I see this criticism basically from men. I guess they mean she's not "hot." She's not. She's not supposed to be. She's pretty, but is a bit of a late bloomer. She's smart, spunky, insecure, a three-dimensional character with a soul to soul connection with Dex. That's what keeps them together. 3) Dex is unsympathetic. He's a spoiled playboy who gets lost, as some overprivileged people do, but finds his way back. He creates many of his own problems, but is a good person. We can see that he is underneath it all, the same way his mother does. It's seeing how he grows into the man she knows he can be that is part of the movie's charm and impact. 4) No chemistry between the leads. Uh, there were times when I actually felt heat coming off the screen. Jim Sturgess was also convincing and stunning as Dex and does an amazing job not only aging but maturing Dex and showing his emotional growth. I thought I developed a crush on Jim when I saw him in Across The Universe. But this movie takes it to a whole new level.

The editing is the one weak spot in this movie. Some of the early scenes feel a bit truncated, leaving a few later scenes feeling a bit unexplained. It doesn't flow quite as nicely as Scherfig's last film, An Education. But the story is much more engaging and entertaining, and the characters are much more likeable and relatable.

All in all, I found it to be a very satisfying romance whose ending is very life affirming, and it left me with a swelling in my heart, a smile on my face and a little tear in my eye all at the same time.

I loved David Nicholls' book of the same name. I love the work of Lone Scherfig (Wilbur Wants to Kill Himself, Italian for Beginners). David Nicholls wrote the screenplay. The ever-lovable Anne Hathaway stars in it. This combination seemed like it added up to sure-fire box office success. I saw the movie in a sneak preview and thought it delivered on all that promise. To me, Nicholls had successfully boiled the essence of his novel into two hours of tight story-telling.

So much for sure-fire success: 'One Day' bombed at the box office. There's no way to finesse that you don't make a movie with names of this caliber, come away with less than $14 million in U.S. box office receipts, and pronounce yourself pleased with the results.

Why the pratfall? I can think of a short list of things:

1) NOT your typical Rom-Com: Those who went thinking they'd get a light Rom-Com were in for a shock. There's a far deeper, more serious tale taking place here.

2) Stunning, abrupt denouement: The twist of fate that suddenly befalls Hathaway's Emma isn't something mainstream U.S. audiences would expect of their romantic lead.

3) Dexter's sliding likability: Jim Sturgess's Dexter starts off likable he's the popular man on campus. Nicholls' book tracks Dexter's 20-year slide to dissolution, while Emma's path inexorably arches upwards past him, from ugly duckling to attractive, winsome success (Anne Hathaway's calling card for over a decade). These dual, compelling transformations makes for compelling reading. On screen, though, the adult Dexter becomes increasingly unlikable.

4) Anne Hathaway as a Brit: I'm an Anne Hathaway fan, but I never bought into her as British. The whole time I thought: "That's Anne Hathaway trying on a British accent." Never thought I'd say this but...Anne Hathaway, you're no Renee Zellweger.

For those of you who passed this up in the theater, I do recommend you check this out for home viewing...just don't expect an hour and 47 minutes of lighthearted fluff.

Buy One Day (2011) Now

ONE DAY is a gentle surprise of a film. Though the premise of a 20 year friendship turning into love is not a new one, the finesse the two main actors bring to this story makes it work like a fresh peach. Based on a novel by David Nicholls (who also write the screenplay) and directed with a fine sense of momentum by Lone Schering, this is a little romance with several rhapsodic and clever twists that tosses in a bit of historical interest just to keep things rolling.

In a British weather lore proverb it is stated that if it rains on St. Swithin's day July 15th there will be rain for 40 days. In ONE DAY (we visit St. Swithin's day for 20 years) Dexter (Jim Sturgess) and Emma (Anne Hathaway) formally meet on July 15, 1986 as they graduate from college: each has big dreams for the future, and quite by accident they spend the night together in a rather platonic way. They part ways as friends and as the years go by they both find themselves in jobs not quite up to their dreams: Emma waitresses at a TexMex grill while Dexter ends up in a tacky position as a front man for a low class television show. Dexter is a ladies man and has multiple partners while Emma is more reserved and only attaches to one Ian (Rafe Spall) who is a boring standup comedian, but is available. Dexter's girls tend toward the glamorous, including Suki (Georgia King) and Sylvie (Romola Garai) with whom he has a child, only to discover that Sylvie's taste in romance matches Dexter's Lothario role. Every year on July 15th Emma and Dexter meet, finally realizing that they are in love. Circumstances intervene to this perfect love story and the ending is unexpectedly touching.

There are some fine cameo roles in the film, especially Patricia Clarkson and Ken Stott as Dexter's parents. One fascinating aspect of the film is watching the styles in hair and clothes change over the 20 years as well as the introduction of all the accoutrements of today. Times have changed as much as Emma and Dexter have changed, and that makes the film work even better. Hathaway and Sturgess are superb, creating tow credible characters about whom we can care. Grady Harp, December 11

Read Best Reviews of One Day (2011) Here

One Day is one of those films that you will either just "get" or you won't. It's either your cup of tea or it isn't. It was most definitely my cup of tea.

Based on the David Nicholls novel of the same name, the story follows college pals Emma and Dex and their relationship over the 20 years following their graduation, but we only get to see the relationship one day out of the year, the day they met. Emma secretly (and sometimes not so secretly) loves him. He loves her, too, but just doesn't know it yet. Picture a serious version of When Harry Met Sally. However, what I liked best about this film is that it's about two lives, not about a perfect, happily-ever-after Hollywood ending. It's about lives in progress. Sad, tragic things happen, but the ending is strongly life-affirming. The characters are not especially tragic or sympathetic, they are just people, like any other people you would meet in everyday life. And it doesn't end wrapped up in a nice, lovely, idyllic bow, just the way you hoped it would, like The Notebook.

The subtle human touches are the life of this film, and I had to see it more than once to catch all of them. Like when Dex's mother expresses her concern for her son's future and his lifestyle choices. Later, when Dex's father tells him mom would be proud, in order to make Dexter feel better, Dex knows it's not true. And the irony of Dex's distant relationship with his father, who ends up giving Dex the best, most helpful advice he could have received.

The love between these two characters takes years to get off the ground, but that makes it all the more moving when it finally happens. The chemistry between the leads Anne Hathaway and Jim Sturgess is palpable as well. There are times you can almost feel the heat coming off the screen.

The editing is really the one weak spot in the film. Scenes were cut short in the interest of time that left later scenes feeling a bit unexplained. It doesn't flow as nicely as Scherfig's last film An Education, but the story is much more engaging, charming and moving, and the characters much more relatable and likeable. I enjoyed this film far more than An Education.

It's a romance, so by its very nature the audience is females, either teens or middle aged women starved for a little romance. For me, this film delivered big time.

Want One Day (2011) Discount?

This is one of those films that should be studied in film class because it speaks to what is so difficult about making quality movies. If you examine each of the components the actors, the script, the locations, the cinematography, and the plot....well, not the plot. And certainly not the direction or editing. But if you look at each of those first four things I mentioned, they were good enough.

But somewhere along the line, probably having to do with weak direction and editing, and perhaps a plot that has already been done several times (boy meets girl now and then over long period of time, and even though they are hot for each other they never get together until the end) "One Day" ended up completely lacking any real emotion, depth, or integrity. I'm told its brought in $56 million world wide, which is a credit to the drawing power of the two young leads, I suppose.

SPOILER ALERT: (If my review so far hasn't already spoiled this flick for you.) I realize that part of the plot was the transformation of the male lead from a person that basically has no character or integrity into a person who ...well, we don't really ever find out. At the end we learn that the feels bad about losing the love of his life. And he likes to take walks with his daughter.

Perhaps its my lack of British sensibility. The British love "cheeky" dialogue, fancy cars, angst-ridden, pathetic, wealthy male leads (see most of Hugh Grant's career), and my daughters tell me Jim Sturgess is attractive. But he lacked all sense of value. And even this would have been OK if that fact had been developed. But basically the Sturgess character is unrelatable, goes nowhere, and that's not a good thing for one of the two leads in a movie.

God, the worst moment in the movie had to be about 85% of the way through when Anne Hathaway gets on the bike in traffic. At this point, my family had a pretty good sense of the lack of creativity in the plot/direction, so as the same motor cycle kept racing by her several times, from a variety of camera angles (no, not for effect, I assume just terrible editing), I turn to my wife and say, "Oh no. They are going to kill her off in an accident." She says, "That wouldn't make sense, but I share your concern."

Literally 30 seconds, one turn, and one alley later (and the motor cycle is long gone), Anne Hathaway gets flattened by a medium sized, very fast moving truck. I don't mean she got hit. She got destroyed! I haven't seen a collision this brutal (in a non-action flick) since Brad Pitt got nailed after the coffee shop scene in "Meet Joe Black." It was cheap, completely telegraphed, inappropriate, and terribly done. Whatever shred of cred was left before that scene, was long gone.

Hathaway the actress is very good at developing endearing personalities on screen. She comes off as a young woman any young man would love to date. But for some reason, she ends up with a guy who "...sits around playing games and farting in the apartment..." The scenes in the Mexican restaurant were cute, but right out of "Princess Diaries." So as in real life, Anne Hathaway falls for the wrong man, and we have to watch her suffer for it for well over an hour, until it appears that he may have changed into a great guy. But "bloody heck," that lorry takes her out before their new relationship can develop.

Wow, this film was terrible! Even my wife and daughters were heckling the television (about twenty minutes after I started) at the end.

Two stars one for Anne Hathaway's huge eyes, and one for the actress who had a minor role playing Sturgess's mother, dying from cancer, who even in her tiny role, stood out as the best of the cast.

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