Category: Movie Review

I LOVE MY DAD (2022)

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Written & Directed By: James Morosini  Cinematography: Steven Capitano Calitri Editor: Josh Crockett

Cast: Patton Oswalt, James Morosini, Claudia Sulewski, Amy Landecker, Lil Rel Howery, Rachel Dratch, Ricky Velez, Sarah Helbringer 

A hopelessly estranged father catfishes his son in an attempt to reconnect.

This film is supposedly based on a true story and if that is a fact. This Is either a brave admission that I am sure has been somewhat exaggerated to a degree or a rather genius demented dark comedy. 

The film sounds interesting to most until they actually see how it is affecting both characters. Sure it’s helping the son and the father-son relationship, but It’s built on lies and bad communication that isn’t malicious. It’s more desperate and misdirected though for a reason.

So that towards the end you care for everyone involved even the ones affected inadvertently. We are allowed to see glimpses of play out. As you know that they’re nice the truth comes out and it must. It will feel more like a horror film.

An aspect that one admired about the film above all else, is the way that it integrates the text conversations into seemingly more face-to-face conversations. So that the audience isn’t left exclusively trying to read the screen during half of the film. Allowing the scenes and scenarios an extra dimension and a new level of compatibility for the characters. As well as comfort.

As it also gives us a glimpse into inner thoughts. While reminding us how disturbing the situation is. Like when sexting owns another. 

Though it might be that new filmmakers who grew up with texting being practically second nature have figured out how to creatively make it work and have it especially work for them

As with most dark comedies it does end with hope. Even though most of the film, there is discomfort.

It’s nice to see Patton Oswalt in more of a leading man role again. That actually seems to fit him. As with him, you believe everyone in their roles. 

You have to believe James Morosini, as he is the writer/director that this all happened to supposedly in real life. So essentially playing himself.

Makes you wonder what he will have next up his sleeve or is this a one and done and just wanted to get his personal story out there. 

Some little tidbits you are left to wonder like was the son socially awkward before going to the Mrs tap hospital or just after his breakdown and is it directly due to not having a male figure around? 

The film even with its freaky subject matter is never mean-spirited and offers more of a gentle touch. As this might remind some of the movie WORLD’S GREATEST DAD though that film has Its Strengths. Most of the characters in that film were unlikeable and had an agenda at some point. So that it came off as cynical. It would make a good double feature with it though. 

Here this film has its own identity and tries to be rough but offers some hope. Where the main character of the father admits to his mistakes and is not delusional, but suffers a connected series of events. Where he continuously digs himself deeper.

So that it becomes truly a comedy of errors.

Grade: B-

FATHER STU (2022)

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Written & Directed by Rosalind Ross
Cinematography: Jacques Jouffret 
Editor: Jeffrey M. Werner 

Cast: Mark Wahlberg, Mel Gibson, Jacki Weaver, Malcolm McDowell, Teresa Ruiz, Jack Kehler, Aaron Morten, Cody Fern, Carlos Leal

Follows the life of Father Stuart Long, a boxer-turned-priest who inspired countless people during his journey from self-destruction to redemption. Based on a true story. 

The film obviously speaks to the beliefs and sensibilities of the two stars of the film Mark Wahlberg and Mel Gibson. It’s a truly inspirational story that ends up redeeming itself in the end. 

The film takes a while to get started and Mark Wahlberg looks a bit old for the leading role, but he does what the role Calls for, staying self-deprecating.  yet charismatic and quite funny. Not to mention gets to play an extraordinary human character. 

Mel Gibson plays his father in a mode he is becoming quite familiar with. That is usually ex-alcoholic and/or white trash. Here he has a chance at a more dramatic role. Where at times he is thrown into stereotype and at others you truly can feel him as the character.

The romance angle is perfectly handled as it takes its time and by the time he has finally gotten what he wanted. Yet still hasn’t made a complete change a tragedy happens that makes him devote his life to god. 

What truly sets the film and story apart is that after that tragedy another tragedy is revealed and while it gives the film a curve from the by-numbers way it seems like it was going. It also adds dramatic depth that the film had already given us an abundance of, but then finally and truly felt.

Truthfully the film that seems lively at first truly doesn’t come alive and exciting until that second act when he is truly trying to strive for bigger and better things. Even throughout the film, his character seems to be searching and trying for something new to fulfill himself and change his life for the better.

Based on a true story you can only do so much, but this film is an uplifting story and a crowd-pleaser. It is hard to knock it, but it is definitely not a film I could imagine watching more than once.

Grade: C

SLASH/BACK

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Directed by: Nyla Innuksuk
Written By: Nyla Innuksuk & Ryan Cavan 
Cinematography: Guy Godfree
Editor: Simone Smith 

Cast: Tasiana Shirley, Nalajoss Ellsworth, Chelsea Proske, Shaun Benson, Kristian Bruun, Alexis Wolfe, Rory Anawak, Frankie Vincent Wolfe, Jackie Maniapik 

When Maika and her ragtag friends discover an alien invasion in their tiny arctic hamlet, it’s up to them to save the day. Utilizing their makeshift weapons and horror movie knowledge, the aliens realize you don’t mess with girls from Pang.

This science fiction adventure film is more of a film for young teens. That has hints of horror yet never goes fully in that direction. It feels like the movie THE THING mixed with ATTACK THE BLOCK only nowhere near as violent or nihilistic as either. 

Other than some violence the film barely has too much that would be objectionable. As most of all, it offers younger girls of color representation on the big screen in positive and relatable ways. 

This is good for Its audience as adults will most likely find it cuter than anything. As there is nothing really revelatory or scary. It’s cuter throughout though at times a bit grizzly for young kids.

Though with the children being in constant peril. You do worry for their safety and dates a bunch of times and hope the film won’t go that far. 

You might feel like you are waiting for something bigger to Happen or more to the story, but it stays clean-cut. As there is peril though not too much violence or gore. It has good practical effects for the most part 

This film makes a good starting science fiction horror movie on certain terms. That it is engaging with its energy. Definitely, a fun movie that never overstays It’s Welcome. All of the horrors happen during the day which is rare in a horror film. 

It almost feels like a movie made by impressive teenagers for kids. 

Grade: C

TAR (2022)

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Written & Directed By: Todd Field
Cinematography: Florian Hoffmeister 
Editor: Monika Willi 

Cast: Cate Blanchett, Noemie Merlant, Nina Hoss, Sophie Kauer, Mark Strong, Sydney Lemmon, Sylvia Flote, Zachary D. Smith-Gneist 

Having achieved an enviable career few could even dream of, renowned conductor/composer Lydia Tár, the first female principal music director of the Berlin Philharmonic, is at the top of her game. As a conductor, Lydia not only orchestrates, she manipulates. As a trailblazer, the passionate virtuoso leads the way in the male-dominated classical music industry. Moreover, Lydia prepares for the release of her memoir while juggling work and family. She is also willing to take up one of her most significant challenges: a live recording of Gustav Mahler’s Symphony No. 5. However, forces that even the imperious maestro can’t control slowly chip away at Lydia’s elaborate facade, revealing the genius’s dirty secrets and the insidious, corrosive nature of power. What if life knocks Lydia off her pedestal?

This film feels like an epic in its Scope and locations but also really for this one character. Who goes all over the spectrum of emotions and from being high on the horse to l falling so low. 

As impressive as the film is, the performance of Cate Blanchett is mesmerizing; it certainly helps that she is constantly on the screen and she is in every scene. This also allows us to notice that we see everything from her point of view.

We see how high her ego is but also how talented she is and can easily back it up. We see her views on certain subjects and life. As well as her behavior in life. 

We also see her downfall and never are quite sure if she is guilty or not, but we can see that those around her totally abandon her and now that the mighty have fallen are willing to sell her out. How some might have even conspired In her downfall, getting passed over once gotten what they wanted, has no problem only added to her downfall.

We never really get an answer to her guilt but can see questionable behavior. Such as threatening a little girl who bullies her daughter we might be able to understand that as a parent, but who is to say she doesn’t have that attitude with those older yet under her. Who needs her approval 

As she is touchy with younger students but that seems more free-flowing. We never see her victims, only glimpses of emails that her assistant has been keeping and filing.

It becomes a mystery in itself as to who exactly is behind taking her down. Though the film remains subtle. It keeps offering hints of what might be happening behind the scenes. Who might be holding grudges and why. As her attitude is flippant toward those around her.

In its own way, it is a tragedy that is a black comedy. In The second half, the film is systematically her downfall and her reaction to it as it happens and she gets more and more unbalanced. Which is when the true range of Blanchett’s Performance truly shines.

Then in the third act where she tries to get her career back and the lengths she has to go through just to work. All the way to a foreign land where even though she obviously dislikes her surroundings there are hints that she might be guilty of what she has been accused of as far as grooming. Such as when she goes to the massage parlor and runs out and throws up. We suspect that this is after realizing what kind of parlor it is, but also it might be after that she has to resort to paying for this kind of attention.

That is how the film presents her as a double-edged sword of someone who we could admire but also might be repulsive and guilty of her accusations. As even when she sees her brother he is nonchalant about her and his feelings towards her and why in pure and simple language.

That is the magic of the film. Everything is presented plainly but there are so many subtle hints that you never know exactly the truth only how she sees it. Even though the video footage was presented later we know was doctored. As we sat through her class and know her comments have been cut together. 

The film’s comedy is very dry and subtle but on second viewing it becomes a little more clear. As the first time, the film jsit feels devastating and the biggest joke of all is the finale. As we see the audience for her 

Grade: B+

TRIANGLE OF SADNESS (2022)

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Written & Directed By: Ruben Ostlund
Cinematography: Fredrick Wenzel
Editor: Mikel Cee Karlsson and Ruben Ostlund 

Cast: Harris Dickinson, Charlbi Dean, Dolly De Leon, Woody Harrelson, Zlatko Buric, Iris Betban, Vicki Berlin, Henrik Dorsn 

A male model and his girlfriend are caught in an amusingly weird situation while on a cruise with an assortment of around a dozen co-passengers. Things don’t go smoothly at all with a raging storm making things difficult, they get shipwrecked and all now need to make compromises to survive.

This film is more thoroughly enjoyable compared to his previous film THE SQUARE though the filmmaker takes aim at the double bed class again with this film. Like FORCE MAJEURE it feels a bit more down to earth and definitely more entertaining than all his other movies up to this point. As again this film is more about the whole story. Rather than noteworthy scenes that more seem tied together. 

The film begins with a couple who are both models. We see the young man in the middle of a modeling casting amongst others and being followed by a host and a camera crew. As it takes a soft jab at these castings.

We watch the young couple and their domestic problems. Where the major problems seem to be about money. As she makes more than him, she also seeks a partner who can take care of her if anything happens. Which has fed into his paranoia and birthed trust issues of always worrying she is going to meet someone better fit for her. Especially as in her career, she is surrounded by them.

That is pretty much the first act, we follow the couple through all the acts and are our anchor, but in the second act as they get aboard a yacht for a cruise the film becomes more of an ensemble. Once the second act begins it becomes about class and privilege. As we see the crew having a motivation meeting to make the most money they can. 

We watch the dastardly way some of the passengers make money on shore. The ridiculous requests they make of the crew, including one woman who after telling one of the staff they are all equal. She uses micro-aggressions,  to not only make the young woman swim but then demand that all the staff members swim and enjoy themselves whether they want to or not. Leaving no one to do Their actual jobs.

The vomit scene seems there to make a point and take the rich down a peg. Making them practically bathed in their own sickness and shit. 

Right the scene also allows the audience to be introduced to the captain Played by Woody Harrelson whose character is a drunk and a Marxist. Unfortunately, he is only in the film briefly but adds some spice and is the only recognizable actor for the audience that reminds us this is not only a film more or less, but also a comedy. 

In this act, we also see the boyfriend’s jealousy. As one act dominoes into him making a complaint. Only to have the man fired while feeling guilty instead of trying to clear it up. At that moment he decides to buy a luxury item instead. As we get a feeling this is the beginning of his entry into this privileged world. Especially as he seems to network with other passengers he is at tables with and has drinks with. 

Once we get to the third act. We still have the central couple plus some characters we were introduced to in the previous act. As literal survivors of the boat sinking.

This is where the film becomes not only non- Romantic but also a harsh version of the film SWEPT AWAY with more characters. As the male of the couple finally ends up becoming more the source of saving them. As his looks end up saving the day and helping them to get charity. Once one of the older female workers from the ship gets to be in charge as she is the only one who knows how to hunt, fish, and cook. 

She is wildly attracted to him and trades intimacy for more rations. Showing that beauty is a powerful commodity and that power can corrupt and the lengths that people will go to. Or only to have power and influence but how hard they Will fight to keep it. No matter what the background and history.

This all leads to an ambiguous ending that feels a little more ironic and out of a writer/director M. Night Shamalayan film only not as thrilling. Nor such a big deal when it comes to revelations.

This is more a film to study and watch rather than just the latter. It’s an interesting class struggle. How freewheeling the rich are with their money and values, but never really consider the second half or how their actions affect them.

The film does offer a few shocks, but strangely never resorts to being in and taste and lets you come away with your own interpretations. Though while keeping it classy, it also feels like it never goes as far as it could. 

He complains About footing the bill as he seems more to worry if this relationship is worth what he is spending his money and emotions on, seeming less romantic and more like a business deal 

Act 3 should be a kind of karma made justice but as with all power structures it becomes corrupted to a degree

Most of a farce at times than anything. Especially when you have the Captain and a Russian billionaire trading Ronald Reagan and Marxist quotes while drinking shots and going through bad weather. Though there always seems to be calm no matter what. So that when Pirates enter the picture it doesn’t seem too far off.

Grade: B

AFTERSUN (2022)

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Written & Directed By: Charlotte Wells
Cinematography: Gregory Oke
Editor: Blair McClendon

Cast: Paul Mescal, Frankie Corio, Celia Rowlson-Hall, Sally Messham

Sophie reflects on the shared joy and private melancholy of a holiday she took with her father twenty years earlier. Memories real and imagined fill the gaps between them as she tries to reconcile the father she knew with the man she didn’t…

This is a movie that presents a happy picture but hints at dismay and other things going on, on the sideline but they are never explained.

So throughout we get hints of something dismaying, but also it’s never quite explained to us. Which allows the audience to feed into or put whatever they feel into the story and make it more personal.

As the film stays what it presents itself as. A look at a father and daughter spending a holiday together at a resort. They bond and have a loving relationship. Except towards the end, they get into a bit of an argument and separate.

Where this will lead we aren’t quite sure but in the end seeing them together again we know they are alright.

In the film, we are never quite sure what happened after the horrific kiss. as we see the future somewhat and it appears we are looking back at memories and videos. We never quite are sure why she is watching these videos or what she is looking for or exactly what happened.

So Essentially it feels like we are watching moments and how they affect us though we have no idea where they are going so it is a bit abstract for us to make up the past and the future. As we watch all we know is that present.

Almost a snapshot, but it is a beautiful film with inventive shots at times. Such as instead of focusing on the actors focusing on their reflections on various objects. Ultimately the film is heartbreaking. It also fills you with a kind of joy.

Remembering when you loved it you loved your kids and everything was innocent and kind of perfect while the outside world looms. It’s one problem that you will have to deal with and encounter. For the time being you are in your own little world with your family and loved ones and that is all that matters 

They are mistaken for being siblings rather than father and child. Though that does show how young he is to be a father and the pressures that might present with little disappointments lien the resort not being as grand as advertised 

The film revels in these ambiguities and it’s another film that benefits from it is mostly taken from a child’s Point of view not fully but in pieces. This helps to explain that some of the camera work and angles are a bit obscured. 

This also allows us later on or after for us to realize that it’s impossible to totally reconstruct a memory perfectly. And that the daughter here can’t ever fully come into focus 

And it offers the universal wonder of looking back at certain moments in our lives and re-evaluating them. We’re what we remembered, better or worse we’re their clues other things were going on. 

The film offers a happy ending but no closure

Grade: B

AMSTERDAM (2022)

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Written & Directed By: David O. Russell 
Cinematography: Emmanuel Lubezki
Editor: Jay Cassidy 

Cast: Christian Bale, Margot Robbie, John David Washington, Chris Rock, Zoe Saldana, Robert DeNiro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Anya Taylor Joy, Alessandro Nivola, Andrea Riseborough, Matthias Schoenaerts, Taylor Swift, Max Perlich, Ed Begley Jr, Colleen Camp 

In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.

This film had so much promise, an all-star cast, and a period-piece comedy. Somehow it all went so wrong. 

As it is big everything about it is big, but limits the places it can go and at least acknowledges that people have other elements to their lives other than the main plot as a focus. 

Director David O. Russell always likes to keep his films somewhat unpredictable and lovely as the camerawork is usually styled yet fluid and there are so many characters floating around who play important roles. That you never quite know who is going to drop in and out. He seems to like organized chaos so that by the end that is when you really notice the style or the plan. As it comes to light.

He also usually gets actors to play parts in his films as the roles are usually off the wall or quirky enough. That it allows the actors more to play than to necessarily act.

When it comes to this film though everything seems off. Not in his usual way though. As the film wants to say something about modern society and politics. As well as race and class relations to a degree, but also wants to mix in comedic elements that feel slapstick yet the laughs never come and nor the comedy exactly.

Here half the minor roles are played by recognizable actors who you wonder why they are even in the film. Though one of those big names Taylor Swift provides the only noteworthy and truly funny jaw-dropping scene. That someone who is not a fan of hers might enjoy it a little too much. 

It doesn’t help that you have a love story among friends and colleagues. Yet no one has any chemistry and they say the lines so blankly that there is no emotion at all and no real reason to truly care about the characters. Even as the situations get zanier and a conspiracy forms. The film stays steady and slow. Where the only actor who seems like they could be interesting is Christian Bale who seems stranded in this movie. His romance with Zoe Saldana is cute and her character is short-changed. As this is the most appealing she has been on screen in quite some time. As the film seems desperate for his character to have a love story as it keeps shining a light on Washinton.s and Robie.s  

As even the film tries to paint a love triangle but it is more of a love story between the two and he is just close to them. If the film had incorporated more of the triangle of the two characters both in love with the woman or them all in love with one another. That would have kept the dynamic more interesting. 

The characters all seem like they deserve their own film. Even though they aren’t playing passionately. They have backstories that would certainly fit a better film or be better used in one.

By the end, this film is about a conspiracy and is played by a caper. Feels like it was much ado about nothing. By the end, only two characters falling in love is the only true change throughout. So that by the end you feel like you went through an endurance test. A well-meaning one but still a chore 

It’s focused as it wants to be a lot of things all at once. It wants to be angry but also soft. As it is paced at times like a screwball comedy but intended to stick and not just go by. It just feels very unfocused. Yet wants to include a lot of details

Grade: C-

MONEYBALL (2011)

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Directed By: Bennett Miller
Written By: Aaron Sorkin And Steve Zaillian 
Story By: Stan Chervin
Based on the book “MONEYBALL: The Art Of Winning An Unfair Game” by: Michael Lewis 
Cinematography: Wally Pfister
Editor: Christopher Tellefsen 

Cast: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robin Wright, Chris Pratt, Stephen Bishop, Reed Diamond, Brent Jennings, Tammy Blanchard, Nick Searcy, Arliss Howard

Oakland A’s GM Billy Beane is handicapped with the lowest salary constraint in baseball. If he ever wants to win the World Series, Billy must find a competitive advantage. Billy is about to turn baseball on its ear when he uses statistical data to analyze and place value on the players he picks for the team.

This film feels like a classic story. It is told simply not in a flashy way with plenty of dramatic scenes and even leaves room for light humor. Though it is intricate in the details and methods it is told. 

It feels like a film that has confidence in itself and how important it is. Whereas for the audience your enjoyment of the film matters in your interest in the subject and even the sport of baseball. As the film feels strong and partially nostalgic about the feeling of baseball and what it represents for some but also represents the players who seemingly

Give their all even when they might have run out of what makes them special, but also by making it more about numbers and probability. While trying to humanize these players it also undercuts them as at times liabilities more than anything. 

Why is it that baseball is the most respected sport when it comes to movies? Even though it is the sort that had a public cheating scandal in its heyday? As it strangely seems to represent Americana. As it has always seemed to be around and played?

Jonah Hill underplays In his role showing he can be quite effective without really doing much and more letting the character stand out for his skills rather than his behavior or words.

Bennet Miller behind the camera directing is always a joy. As he always seems to disappear and once he comes back around to making another film it stands out in many good ways. As they always seem more prestige than anything else. Good but they seem to lack passion or too much emotion. Here he has another home run. 

As a director, he tends to be very atmospheric. Especially when it comes to a consistent tone. As he seems to seek to say so much. While seemingly doing very little but it feels bigger. It’s hard to believe he only came onto this project after Director Steven Soderbergh left the project. 

This is one of Brad Pitt’s better performances where he seems to be in a role later in his career. As in the role, he plays it as more neutral, cocky, and as much of a show-off as he has done in the past. Here he doesn’t have to rely on looks, personality, or charm. 

The cast is full of heavy hitters who never let the film or the material down.

As this film is a true story it doesn’t have a storybook ending. But even as it is downbeat it is a quietly satisfying one. 

It not only takes you behind the scenes of the organization but also a great story with real characters going through inner turmoil. Though they stay in check of their emotions, you can read the drama clearly on their faces and in their eyes. 

The story is all about the details that shape and define it. 

GRADE: A

MRS. HARRIS GOES TO PARIS (2022)

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Directed by: Anthony Fabian 
Written By: Anthony Fabian, Carroll Cartwright, Keith Thompson and Olivia Hetreed 
Based On The Novel Written By: Paul Gallico 
Cinematography: Felix Wiedemann
Editor: Barney Pilling

Cast: Lesley Manville, Isabelle Huppert, Lambert Wilson, Alba Baptista, Jason Issacs, Lucas Bravo, Ellen Thomas, Rose Williams, Anna Chancellor, Christian McKay 

A widowed cleaning lady in 1950s London falls madly in love with a couture Dior dress and decides that she must have one of her own.

I can’t say what made me want to see this film. As I will admit I was smitten as soon as I saw the poster and the trailer. I am glad that neither lets you down. As they pretty much preview the spirit of the film.

This is a good comfort movie. What I would call a perfect Sunday film. It’s entirely predictable and charming. Leaving the audience with a smile and managing to stay inoffensive throughout. 

This is the type of movie you go to in theaters to come out smiling or the ones you would wait to see at the discount theaters at least. 

This film even starts or predicts attitudes changing in the past that only started to happen recently.

It manages to set up what looks to be a whirlwind romance for a character that eventually fails, yet brings the character and movie down to earth. So that it isn’t a complete fantasy. Though later rewards the characters with something much more stable, sweet, and stronger. Luckily It’s not the main focus of the film.

Amazed by the character actress Lesley Manville who usually plays villains, especially you love to hate. Here she is so sweet and winning. 

It’s a film full of lessons that eventually are taught, shown, or learned. Where food usually prevails. Mean characters are shown to have other sides. 

The film never quite feels like something special. Though constantly puts you in a good mood. Good movie to watch with family.

Almost like a children’s Fantasy film made for adults only without the fantasy, but keeps the mood. 

It’s one of those films where a sensible nice person upsets the jet set but then makes them realize the errors of their ways and reminds them that there are regular and pure people in the world.

As usual, the film seems Like everything is going to go along dreamily for the lead character except for some challenges laid her way. Though the film does at turns keep you second guessing and makes the lead truly have to either work to get to her happy ending or has it taken away and the hanks to her strength of character get it rectified or helped along the way by others. 

This comes from her learning lessons about her nice nature at times and that those who you try to care for and protect Don’t always feel the same way it have the same intent in their hearts.

Grade: B

RETURN TO ME (2000)

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Directed By: Bonnie Hunt
Written By: Bonnie Hunt & Don Lake 
Story By: Bonnie Hunt, Don Lake, Andrew Stern and Samantha Goodman
Cinematography: Laszlo Kovacs 
Editor: Garth Craven

Cast: David Duchovny, Minnie Driver, David Alan Grier, Carroll O’Connor, Robert Loggia, Bonnie Hunt, James Belushi, Eddie Jones, Brian Howe, Marianne Muellerleile, Joely Richardson 

A man who falls in love with the woman who received his wife’s heart must decide which woman it is who holds his heart.

This film is a total surprise. As one wouldn’t think too much of it at first,  it comes across as an all-time classic 

This film is charming. Above all else. Like its co-writer and director Bonnie Hunt’s stand-up comedy it’s inoffensive, chuckle-worthy, classic, and full of character. As well as full of characters. 

As it plays like a romantic comedy from the 1950s and stays wholesome. As even though it is modern it feels like it comes from a bygone era or the type of film They don’t make anymore. As the leads come across as real characters and never stars.

Though the film deals with a dark subject. The film stays lighthearted, cheerful, and energetic.

This for me is the first time that David Duchovny comes across as a full-fledged leading man in a movie. He is quite good and soulful. He even manages to put out a few laughs.

Minnie Driver is wonderful, beautiful, and down to earth in the film. She is practically the girl next door in this film. As well as hilarious. 

The sounding board of her family and the regulars at the restaurant are hilarious and give the film a special touch. Especially seeing the old-school stars given something to do. 

That is the strength of the film. You are so interested in all of the characters. Even the minor ones that no matter what happens you will still be entertained. That is how nourishing this film is as it shows everything and every one was handled with care.

The film could have easily based itself on the story and plot but while it is around it quickly takes a backseat to the characters and situations.

This is a film that is rewatchable each time I watch it. Not only do I fall in love with it all over again. As I suspect most who watch it will, but it holds up and impresses. As it feels like an old-school classic. Which is rare as they don’t make films like this anymore. Yes, it’s more in the movie logic cute romance side. 

The plot gets you in the door, but the characters keep you interested. No matter how formulaic it gets. It introduces something a bit unexpected. The film has a personality bit an extreme one but one more subtle.

GRADE: A