The idea of bringing together Frank Langella and Elliott Gould in a movie sounds utterly delicious with possibility.
Mostly, this film is a smug literati’s interpretation of a May-December romance.
By splintering off into six separate points of view, the documentary immediately becomes too remedial and blandly informative.
Director Terry George should be mentioned as derisively as Paul Haggis by this point.
It isn’t until you’ve been granted full press access at the Toronto Film Festival that you realize this really is a people’s festival. I
Julie Taymor is clearly trying hard to gussy up a screenplay that plays more like The Wonder Years without the cultural insight.
The film finds searing ways to suggest that men really are overgrown boys, despite their families or wealth or sociability.
Adam Shankman keeps everything rolling, which is really saying something in this age of ground-to-a-halt musical turkeys.
Dice it any way you want, this material was, is, and will always be pretty cheap.
Zoe Cassavetes’s film is most successful in its throwaway moments.
As if Jane Austen country hasn’t been charted to death already, Becoming Jane makes it literal.
It’s as if director Poll and screenwriter Gustin Nash watched Rushmore on a loop and tried to make it palatable to the mall crowd.
You Kill Me doesn’t hold up to great scrutiny, so its best taken in a cable-movie kind of way.
Shrieking like a banshee has unfortunately become Brenda Blethyn’s stock in trade since her remarkable breakout turn in Secrets &Lies.
For the greatest examples of the human condition, one only needed to really look in two places, one in the least likely place imaginable.
A show queen couldn’t possibly do any better for the Broadway beat than Dori Berinstein’s breezy, affectionate valentine to the Great White Way.
Everything’s Gone Green just barely hangs there in that low-watt Canadian film-world deadpan, when it calls out for a shot of adrenaline.
Bobby is not better than JFK but it is not completely without value.
There’s a deceptive layer of questioning in Brougher’s POV that always keeps the viewer alert.
Fay Grim is no fool, and as played by Parker Posey, she’s one marvelous creation.