|A series of
coincidences brings them together. They are each sheltering a lot of
pain, and they seem to find solace in each other.
There is probably a great movie to be
made by pairing those characters and actors. They didn't really find
it. Despite an excellent start and
a great characterization from Sarandon, it's not
a very honest film, and it never could figure out whether it was a
drama or a romantic comedy.
I found two things
- In the midst of
the naturalistic drama, Sarandon's psychic sister
suddenly arrives - and she's not some kind of white-trash-I'll-believe-anything
psychic whose nonsense is transparent to the audience. Nosireebob - she's the real thing -
we are supposed to believe she has the sight.
What's that all about? I thought this was a film about reality. Perhaps
that was a cheap plot device to reveal
details about Sarandon's past that the character herself won't
- The movie has a
contrived happy ending. They realize that Sarandon can never fit
into his world, so Sarandon leaves town. Spader then quits everything -
his job, his family, his friends - and runs to her side. I don't
know about that. There's no problem with my understanding that he loves
her because she's really a great person and sexy as hell. And I
think they can resolve the age difference. After all, Sarandon is
doing that in real life with Tim Robbins. But Robbins and Sarandon
are soulmates. In the movie, I don't buy that these two people will ever solve
the cultural barriers. The movie makes it absolutely clear that
they have nothing to talk about. They don't share the same tastes
in anything. Sooner or later they have to get out of bed. What do
they do then? Hard to see how this could come to a happy ending. The
ending was reflective of a larger problem in the storyline - it
needed much more depth of characterization in the Spader character.
He needed to be more reflective, more "real".
Those crazy developments in the
middle and end of the film are a real shame, because the first act is
excellent, and at the point it seemed that the
movie was going to be tremendous. Furthermore, it may be
Sarandon's best work in a distinguished career
But then the psychic hot line and the cornball
improbable ending steered everything in a very unsatisfying and
unrealistic direction, and the early promise of the film came to nought.
comments in yellow:
stars Susan Sarandon and James Spader in a romantic comedy. He is a
successful anal-retentive Jewish lawyer. She is a waitress in a greasy
spoon hamburger joint, twice his age, uneducated, and a total slob.
Naturally, they fall madly in lust, then love. They separate, then
reunite and live happily ever after. After all, that is the formula, and
the script didn't deviate. There were some good moments, such as when
Spader realizes that it is not Sarandon that is out of place with his
friends, it is him. He is at a party, and discovers that the hostess's
dust buster has no dust in it.
Sarandon is a personal favorite, and she did he usual splendid job in
this film. Spader, whom I usually want to slap upside the head for his
smirk, was not as irritating as he usually is, but there was not enough
material for a film here. On the other hand, the sex scenes between the
two sizzled, and we get several looks at Sarandon's breasts.
- With their
dollars ... it wasn't a smash, hit, but
it took in $17 million domestically.
guideline: 7.5 usually indicates a level of
excellence, about like three and a half stars
from the critics. 6.0 usually indicates lukewarm
watchability, about like two and a half stars
from the critics. The fives are generally not
worthwhile unless they are really your kind of
material, about like two stars from the critics.
Films under five are generally awful even if you
like that kind of film, equivalent to about one
and a half stars from the critics or less,
depending on just how far below five the rating
guideline: A means the movie is so good it
will appeal to you even if you hate the genre. B means the movie is not
good enough to win you over if you hate the
genre, but is good enough to do so if you have an
open mind about this type of film. C means it will only
appeal to genre addicts, and has no crossover
appeal. D means you'll hate it even if you
like the genre. E means that you'll hate it even if
you love the genre. F means that the film is not only
unappealing across-the-board, but technically
inept as well.
Based on this
description, Scoop says, "this film is a C+. Pretty good movie spoiled by a
silly ending, but Sarandon gets the award for the all-time
sexy older woman." Tuna says, "The
correct score is C-. Those who enjoy the genre will find this