Reviews

This adaptation of the Pasternak novel certainly feels like a David Lean picture. Like "Lawrence of Arabia", there are vast expanses, but instead of sand, there is snow. But no direction can overcome the problems inherent in the novel, with its dense, ambiguous story framed by a Soviet history that offers nothing redemptive. Then there is the titular character---a man who is neither hero nor anti-hero. He is willing victim to a political process that he mistakes as benevolent.

The portrayal of Zhivago by Omar Sharif is fine. So is Julie Christie's portrayal of Lara, the object of Zhivago's tainted love, the subject of the film's memorable musical theme. But their story is barely a love story---borne of dissatisfaction and unhappiness, it can never end well, like the fate of the nation that victimizes them.

This film is best seen as a sketchy overview of a national history that is populated by despots and their victims. It is tragic and, unfortunately, it is filled with vignettes that entertain little. In his review of the restored film, Roger Ebert found little to admire but the film's "old-style craftsmanship", but this film, then, belongs in the same library with other well-crafted films that have little to say or that say it poorly.

This well-written adaptation of Shakespeare's play features performances by Norma Shearer and Leslie Howard as the star-crossed lovers. Shearer owns her role, while Howard is more than adequate in his. And they maintain the focus of the film while surrounded by massive talents at every turn, like John Barrymore, Basil Rathbone, and Edna May Oliver.

The sets are wonderful, as are the costumes, and the viewer is transported to Verona, where forbidden love cannot be denied.

One of the challenges, of course, is to deliver the dense and flowery dialogue in a way that modern audiences can embracet. Director Cukor may deserve some of the credit for the way this production invites the viewer into the story through its dialogue.

It would have been a real task to cast the two leads with actors age twenty or younger. Judy Garland might have fit the bill, but could she have delivered a performance equal to Norma Shearer's? Perhaps. Montgomery Clift might have been a solid choice for Romeo, but he was not "discovered" until years later. Regardless, this is a fine production worthy of Shakespeare's talents.

Much has been made of this being the last performance of John Barrymore and the fact that his compromised constitution would lead to his death in 1942. But that does not make this performance compromised, or him a pathetic shell of his former self. In fact, it makes this performance all the more impressive. For comparison, go back to his performance as Mercutio in "Romeo and Juliet" fully five years earlier. Both are comedic roles. And in both cases, he is acting broadly and loudly. Of course "Playmates" is not a vehicle with the status of the Shakespearian classic, but Barrymore totally buys into the low brow humor and gives in to the silliness, like a trooper. Playing alongside Kay Kyser and "Ish Kabibble" is nothing like sharing the stage with Leslie Howard and Norma Shearer, but Barrymore gives it all.

The film is one of those wartime comedies where the studio throws everything and everyone into the mix, striving for maximum entertainment. Kyser and his band are talented. And they display their wide variety of styles. Their star vocalists, Ginny Simms and Peter Lind Hayes, serve up some of the best moments in the film with their mellifluous tones.

The silly story is about Barrymore turning Kyser into a Shakespearian actor, while trying to hold off the fiery Lupe Velez (who plays Carmen del Toro), the woman who wants all his attention and his name. It's a story that jumps from point to point with its focus on cramming more entertainment into each scene. This is no great film, but it was not meant to be; its function is to allow the diverse talents to exist within the running time and deliver some laughs, punctuated with musical moments. It does that.

Shot in New York City, "Date Night" is an action film that features the comedic talents of Steve Carell and Tina Fey, who play a married couple, the Fosters. Like many couples who have been together for years, they have fallen into a rut. To keep things fresh, they have date night once a week, but even that has fallen victim to a tired, monotonous routine.

When another couple announces the end of their marriage, Phil (Carell) tries his best to shake things up, promising a memorable dinner at an exclusive restaurant. When he cannot deliver, he desperately tries to take another couple's reservation, leading to a case of mistaken identity. What ensues is a night of misadventure as they try to stay one step ahead of everyone who is after them.

The brand of humor is what one would expect from Carell or Fey. It works fairly well. And they are surrounded by a very enjoyable cast, including Mark Wahlberg, who plays a hunky guy who might be able to assist them. His apartment is just one stop on their night's journey through a world of danger and intrigue. But at least they escape their rut.

This film might serve as a primer on how to waste talent. The cast includes Marlon Brando, Jane Fonda, Robert Redford and a passel of other big names, but most of them cannot rise above the melodrama and caricaturization that "The Chase" offers in spades.

Redford plays Bubber Reeves, a convict who escapes prison and is on his way back to his hometown. Jane Fonda plays the wife, Anna Reeves, who is content to dally with the son of the big man in town while Bubber is absent. Brando is Sheriff Calder, who tries to maintain law and order as the town goes berserk in an orgy of racism, lawlessness, greed, sex, and power struggle.

The actors who acquit themselves the best are Fonda, Angie Dickinson---who plays the wife of the sheriff---and James Fox, who is Fonda's boyfriend.

The story is over-the-top melodramatic. About fifteen actors chew the scenery as the tempo of the narrative ramps up to a laughable level. This is "Peyton Place" meets "The Day of the Locust", culminating in a deadly carnival in a junkyard. As the officer said, there is nothing to see here, but the film does offer a long list of known actors, some in very minor roles, and it can be fun to try to pick them out.

In 1979, the film "Time After Time" was released. It was a sci-fi based time travel romance. And in 1980, there was "Somewhere in Time"---fantasy based and one of the greatest romantic films. These two excellent films had little in common beyond the time travel aspect of their stories.

Time travel plots are always tricky. For "Somewhere in Time", don't look too closely for problems, like the chicken/egg question. There is a supernatural aspect of the story that one must buy into to really appreciate its wonderful romanticism.

Fortunately, the film has plenty going for it, like beautiful scenery, a memorable romantic theme by Rachmaninoff, and Oscar-nominated costuming for the period portion of the story. Its best asset, though, is the pairing of Christopher Reeve and Jane Seymour, who actually fell in love during the making of the film.

Reeve plays the part of Richard Collier, a modern day playwright who falls in love with the image of a woman from 1912, actress Elise McKenna, played by Seymour. His obsession with the woman leads to his attempt to travel through time to meet her. It's a romantic notion that demands all suspension of disbelief, or one might as well avoid the film.

Christopher Plummer's performance is also worth noting. He plays W. F. Robinson, who is McKenna's agent, guru and guardian. He has molded her into the actress she has become, and his Svengali-like influence is an obstacle standing between the two who might find happiness together.

Versatile Oscar winner Walther Matthau stars in this now-classic youth sports film about a little league team made up of incompetents, a girl, and a juvenile delinquent. This is an irreverent comedy which also includes some life lessons, especially for adults involved in youth sports.

This may not be "Hoosiers", but it is a comeback tale of sorts. And its characters have a story arc that is gratifying.

The girl on the team is Amanda Whurlitzer, played by Tatum O'Neal, who also had an Oscar in hand, for her performance in her previous film, "Paper Moon". She is as integral to the story as Matthau, and she holds her own. Another actor of note is the young Jackie Earle Haley, who plays the juvenile delinquent. Four years later, he will appear in another classic sports film, "Breaking Away".

This oft-copied and parodied film is still fun to watch. No sports film ever featured underdogs with less hope; watch how they put the "team" in self-esteem.

Though this film fits the definition of a chick flick, it is not without general charm. Thankfully, its two stars are fun to watch. Moira Kelly plays the part of Kate, a shrewish figure skater looking for a partner. Well, actually her coach and her father are doing the searching, because she has scared off a slew of them.

Looking outside the box, her coach finds Doug Dorsey (D. B. Sweeney), a once-promising hockey player whose career was sidelined by serious injury. Doug is a blue-collar Midwesterner used to the macho lifestyle of the dentally-challenged jock. When he is presented with the pampered lifestyle of Kate, who trains at a private rink and hobnobs with the upper crust, there is a culture clash.

The major difficulty for a sports-related film that features non-athletes is to make the sports action convincing. Overall, it is fairly well done here. Kelly and Sweeney are novice skaters. If lighting and editing are used too much to disguise the athletes, it distracts from the action. In "The Cutting Edge", the deception is noticeable, but not so annoying that it ruins the film. Think of how "Flashdance" obscured the identity of the real dancer (Marine Jahan) in its most demanding scenes.

This film has a cult following, but it falls far short of other chick flicks, like "Pretty Woman".

Credit goes to Chuck Lorre and colleagues who believed that a sitcom could be built around a group of friends who were not (at all) blue collar or coworkers, though "Frasier" paved the way.

The four main characters are nerds who work in scientific fields and have stunted social skills, especially when it comes to romance. They celebrate all aspects of science (especially physics), sci-fi, comics, superheroes, and gaming.

Much of the humor goes through Sheldon, a character whose characteristics are extreme. He is filled with phobias, he is totally egotistical, and he seldom understands the mechanics of social structure, customs, or the feelings of others. He is so well-defined that he would become the focus of a spin-off, "Young Sheldon."

As the series progresses, the men become involved with women, opening the door for more relationship humor.

The show's actors are talented at humor. Though the show flags somewhat in later seasons, it never falls to a level that is unfunny.

This film is an oddity. It is well-directed by Arthur Penn (no relative) and cleverly written by Penn and Teller, but it is too clever for its own good. The story asks the viewer to buy into its premise, then it jettisons that premise in the last act. Call it absurdist or call it an absurd waste of a good script.

Penn and Teller play themselves---well, versions of themselves---and pepper the story with comedic magic bits that are their hallmark. The two characters play practical jokes on each other, always upping the stakes. This allows them to display their talents to good effect. A better ending might have resulted in a great farce.

I did enjoy Caitlin Clarke's performance as their girl Friday. And the musical references are enjoyable.

If you can get past the first episode, which feels like a direct ripoff of "Columbo", this can be an enjoyable series. Perhaps it is meant to be an homage to the Peter Falk character. By the fourth episode, I was actually looking forward to watching Carrie Preston in her portrayal of Elsbeth Tascioni.

This humorous crime solver is not too insightful so that the stories feel unbelievable. Elsbeth is not a superhero. She is a kind-hearted person who is smart enough to disguise her powers of deduction with a veneer of absent-minded lack of focus. She notices the small details that matter (and some that don't) while working well with others.

By the fourth episode, she has established a strong working relationship with officer Kaya Blanke (Carra Patterson), who comes to recognize the value of Elsbeth's talents. Their partnership promises to elevate the remainder of the series.

I hope Wendell Pierce (who plays Captain Wagner) becomes a larger part of the stories. As on "Suits", he is always fun to watch.

Like "Columbo", the series needs good "villains", and so far they have delivered. Deliciously arch antagonists really make a difference. The castings of Jane Krakowski and Jesse Tyler Ferguson were strong steps in the right direction.

The year is 1600. Having discovered a better sea route to the Orient, the Portuguese have established relationships with the Japanese, leading to advances in their two main objectives: profitable trade and the incursion of Catholicism into the region.

A Dutch vessel, the Erasmus, beset by scurvy, drifts aimlessly through dense fog until it grounds near Osaka, where the crew is captured. They are treated badly. One sailor---an Englishman named John Blackthorne (Cosmo Jarvis)---is sent to the castle as a prisoner, to be looked over. Fortunately for him, a young woman (Mariko, played by Anna Sawai) there speaks English, having been instructed by a Portuguese priest. Through her, he communicates with those in power, though they have little regard for this outsider.

This is a time of political intrigue. A board of five regents is in charge, but some have designs on more power. And long histories of conflict color every decision, every posture. Blackthorne struggles to understand what is happening and how he might regain possession of his ship.

Based on the James Clavell novel of the same title, this is an excellent mini-series. I admit I took to it slowly, as the narrative established the context for the entire series, but there was a moment near the end of the second episode when I was hooked by the story and I knew I would enjoy its entirety.

Besides some strong acting, there is a strong element of design (costuming, sets, atmosphere) that infuses the production. But all is not beautiful, as there is death and brutality all around. Nevertheless, immersion into the culture of feudal Japan transports the viewer. We can identify with Blackthorne's struggle to understand his surroundings. At the same time, Western understanding of feudal Europe, with its warring factions and systems of fealty gives us an analogous example that allows basic comprehension from the beginning.

This is an excellent story and a convincing glimpse into the history and culture of Japan in 1600.

Directed by Minelli, "The Reluctant Debutante" is about a young American girl named Jane (Sandra Dee) who visits her father, who is a banker in London. There, she meets his second wife, who decides Jane should debut (or "come out") during the season, which is a succession of debutante balls. It is 1958, and this will be the last season, as decreed by Queen Elizabeth.

This film represents a series of firsts and lasts.

The father, Jimmy, is played by Rex Harrison. His wife, Sheila, is played by Harrison's actual wife, Kay Kendall. This will be Kendall's last film.

This is actually Sandra Dee's second appearance in a film. Her fresh-faced persona is understandable, as she is only about 15 in this appearance, due to lying about her age.

Jane is disappointed with the romantic prospects of the season when she realizes the young man who seems most available is David Fenner (Peter Myers), a guardsman who is a dull "drip"; his main interest seems to be the best way to negotiate the London roadways.

But then David Parkson (John Saxon) enters the picture. Jane has chemistry with this American drummer almost immediately. There are a few clever moments due to the confusion of the two Davids.

In the era when the squeaky-clean image of Doris Day is of greatest appeal, Sandra Dee fits in well, like a Disney princess come alive. She is the image of the perfect debutante, on the cusp of womanhood, discovering love.

As the title suggests, this Hallmark romance has an automotive theme. Luke (Tyler Hynes) and Jess (Katherine Barrell) work on cars for competing garages. The two of them have a romantic history, but Jess now prefers cars over men, because they never disappoint. Emotions between them are further complicated by the fact that the two garages, owned by their fathers, also have a deep history.

The chemistry between the two leads is not off the charts, but the story really leans into the auto restoration contest that Luke and Jess enter. And Jess's father really needs the prize money to bail their garage out of existential financial problems. Still, as the contest goes on, old feelings are reignited, and Jess begins to allow Luke into her heart.

As always in a Hallmark film, a conflict arises in the eleventh hour, throwing a wrench into their love affair. But the viewer knows that love will overcome in the world where romance wears the crown.

In the final minutes, there is a resolution that promises not just a reconciliation, but also a brighter future. Even grease monkeys deserve love in Hallmark land.

I like trivia games. And game shows like "Jeopardy!" are my faves. "Split Second" doesn't come close to the quality of "Jeopardy!", but it is fast-paced. The keys to its likability are the level of trivia, which is not too challenging, and the affability of the host, John Michael Higgins.

Three contestants answer the same questions. If they answer first, they have a greater chance to win more points, so speed is a factor. Also, there is some strategy; if you answer the easier questions, it makes your opponent's task more difficult.

These Game Show Network offerings do not offer huge payoffs, but apparently they do not need to.

Said to be loosely based on Conrad's "Heart of Darkness", this is a psychological drama that proves to be tedious. Roy McBride (Brad Pitt) is a man who mostly lives in his own head, focused on duty and the pragmatic pursuit of perfection.

At every turn, Roy finds himself in an emergency situation, as he leaves Earth for a lunar station where he will be rerouted to Mars and beyond. Since most of the action takes place in low gravity, you get the antithesis of high-speed chases: slo-mo slogs, over barren landscapes or in vacuums.

As for the story, it also leaves a lot to be desired. Roy makes few emotional connections with people, and the motivation for most of his actions is uninspiring. Over the course of the film, there is almost no character development. What is the viewer supposed to invest his emotions in?

About one hour in, I thought the first half was merely prologue to an exciting conclusion, because he is derailed from his mission and must find a way to overcome. But no, nothing changes that makes the story more interesting or the action more compelling.

There are some impressive sets and some believable effects, but this is one film that could have been so much more.

Director John Ford assembled more than twenty name actors for this intergenerational saga that provides an overview of the westward expansion of the United States.

The use of Cinerama means that the camera is usually stationary, but Ford makes the most of the panoramic product, making the expanse of the frontier feel as vast as it was. And its grandeur adds gravitas to the undertaking.

There will always be those who question the accuracy or the focus of a film about history, but "How the West Was Won" feels fairly objective, laying blame and giving credit where due. And the story does a good job of condensing so much history into so little screen time. This is great storytelling. You might say it provides a personal view of manifest destiny. In the end, American history is the collection of so many personal histories, not just the actions of governments or armies.

One of my favorite chapters is about how Linus Rawlings (James Stewart), a mountain man who values his independence above all else, meets his future wife.

This film was nominated for eight Oscars, winning three, including Best Writing, Story, and Screenplay. It's an impressive film with ambitious intentions.

Large cast of recognizable stars is involved in this interesting comedy. It all begins when a new justice of the peace marries a couple (Ginger Rogers and Fred Allen) on Christmas Eve who has no romantic feelings for each other. They wed merely because they play a married couple on radio.

Two and a half years later, they receive a letter telling them they are not legally married, because the justice of the peace did not have the power to marry at that time. The rest of the story deals with the consequences of that notification, for them and for four other couples:

Marilyn Monroe, a pageant winner, is married to David Wayne.

Paul Douglas, who dreams of being single again, is married to Eve Arden.

Louis Calhern, a wealthy businessman, is married to Zsa Zsa Gabor. This story is the most satisfying.

GI Eddie Bracken, who is married to Mitzi Gaynor, is worried about what the marriage revocation might mean for their new child.

Each of the couples has a different take on what the notification means to them. Each complete story has its own appeal.

Watch for character actors James Gleason and Victor Moore; and Lee Marvin, who is uncredited.

A 1954 film about a sexy, surreptitious surveillance could be Alfred Hitchcock's "Rear Window", or it could be this noir thriller from director Richard Quine, featuring Fred MacMurray and newcomer Kim Novak.

The film begins with a heist, then quickly turns to seduction. It's a common theme in films for a private dick or a cop to fall for the dame he is tailing or watching. In this one, MacMurray is more than intrigued by gangster's moll Kim Novak, who is a temptation from a distance or up close and personal. Though this film might remind one of MacMurray's turn in "Double Indemnity", here his character is less cynical and the viewer wonders how strictly he will adhere to the constraints of duty.

Like "Double Indemnity", a plan is made and much of the suspense revolves around the small cracks that eventually develop in every plan.

Fine performances are delivered by Dorothy Malone, as another siren who lives in the surveilled building, E. G. Marshall, who plays the gruff police lieutenant who runs the operation, and Philip Carey, who is MacMurray's friend and coworker.

For a more modern take on the surveillance thriller, check out "Sharkey's Machine" from 1981.

Spike Jonze wrote and directed this film that examines some possible outcomes resulting from the incursion of the digital world into the "real" world. Specifically, it involves AI in ways that are not fantastical; it is only a matter of time before humans actually experience what the film foresees.

Since Theodore's (Joaquin Phoenix) interactions with humans are unsatisfying, he buys an application that promises to develop a personality specific to him. It is not long before he is confiding in "Samantha" and developing romantic feelings. Jonze's script feels believable yet imaginative. And at its core is an understanding of some basic issues that can complicate such relationships.

Phoenix does a good job playing Theodore as a mild-mannered man who is emotionally vulnerable, if somewhat naïve. Scarlett Johansson plays the part of Samantha so well, it is difficult to imagine anyone else in that role. It might be overreaching to expect viewers to totally believe that an AI personality might behave just as portrayed in the film, but the character is so enthralling, one wants to believe.

The twists in the story are brilliant, even if the ending is a little weak. On the other hand, some might view the ending as preamble to another, better chapter. There is a choice.

A family goes to the Catskills for two weeks of vacation, and the two daughters try to break out of their parental constraints, especially when it comes to men. No, this is not "Dirty Dancing." Far from it, as American mores were struggling with remnants of the Victorian Era. On the other hand, Baby and Lisa Houseman were part of a generation leaving the square 50s for the socially aware 60s, soon to be the turbulent 60s.

But 17-year-old Patti Robinson (Jane Powell) and her kid sister Melba (Debbie Reynolds) want to wear more mature fashions, stay out later and, most importantly, attract the attention of young men. But they are very different from each other. Patti is rather demure, though she can belt out a rousing song when called upon. Melba doesn't hold back when expressing her interest in a boy, like 16-year-old Billy Finlay (Carleton Carpenter), who only has eyes for Patti.

Powell and Reynolds each get their chances to sing, and those performances are the best parts of the film. It is particularly fun to watch Debbie Reynolds, who is really a teen, make her mark with this role. Still two years before "Singin' in the Rain", she shows immense talent, likability, and an infectious energy. Her duet with Carleton Carpenter---"Aba Daba Honeymoon"----is a milestone in her career.

Patti Robinson expresses her burgeoning maturity by setting her sights on a dashing newcomer to the resort, Demi Armendez (Ricardo Montalban), whose age is not established, though Montalban is 30 in real life. Their odd courtship deals with many obstacles, but it really doesn't matter; Patti's freedom from severe parental restraints is the point of her story.

The film does a fine job of capturing the beginning of the twentieth century in styles and customs. It is not a major musical, but it is pleasant.

Probably not for everyone, "Se7en" is a dark film that explores the worst part of mankind. Its opening credits set the tone with graphics that are messy, jagged, gritty and graphic, evoking a mood that is uneasy, surreal, even abnormal and dystopic. The film takes place in an urban setting. It is a city of noise, sirens, grime, and unrelenting rain and disharmony.

Two police detectives are paired just as one is only seven days from retirement. Somerset (Morgan Freeman) has a world view tempered by decades on the force. He is so far past believing in justice and righteousness that nothing shocks him. His new partner, Mills (Brad Pitt) has just transferred in, and hopes to establish a new life in the city with his wife, Tracy (Gwyneth Paltrow).

Somerset immediately sees ritualism in a crime scene that is revolting. It drives him to dig deeper, and he discovers clues that begin to profile a murderer who is intelligent, dedicated, and patient----traits that promise other victims and more gruesome crime scenes. Since the murderer leaves clues, Somerset and Mills feel that their mission is personal.

Director David Fincher creates at atmospheric film that gives the viewer little respite from the brutality of its urban nightmare. By the film's end, it pushes into the horror genre. But the film is so well made, the story so tightly told, so well-paced.

One of the best scenes is a chase. Mills is on the heels of a suspect, navigating the labyrinthine hallways and alleyways of a dangerous, dingy neighborhood. The danger feels real. There is fear around every corner. And, once again, it seems the suspect remains just out of reach.

Just as Mills is compelled to chase, we are compelled to follow this story to its end, to discover what? Fincher draws the viewer in and expertly delivers a dramatic denouement.

It's true this film could be better than it is, but it still includes a wealth of enjoyable scenes. Despite open hostilities between cast members, everyone does his best. The casting of Marlon Brando as Sky Masterson and Jean Simmons as Rachel Brown is regrettable, but they still have their charms.

Enjoy the spectacle of the sets, the costuming and, especially, the production numbers. Michael Kidd's choreography is inspired.

The story----about some New York hoods who are feeling the heat from the cops, but are itching to play craps---provides a good backdrop for an unlikely love story and some strong comedic elements. Standouts include Viviane Blaine (as Miss Adelaide), Stubby Kaye (as Nicely-Nicely Johnson), and, yes, Frank Sinatra (as Nathan Detroit), whose vocal talent and natural acting are the keystone of the film, along with the music of Frank Loesser.

The title song, "Fugue for Tinhorns", "Luck, Be a Lady", and "Sit Down, You're Rockin' the Boat" are the highlights. What a tremendous collection of songs!

Based upon a short story by Richard Connell, this film with the clever title does a good job of translating the O. Henry Award winner to the big screen, though it seems aimed at younger audiences.

Joel McCray is Bob, a hunter who is shipwrecked on an isolated island where he discovers a forbidding fortress-like residence occupied by a Russian, Count Zaroff (Leslie Banks), who shares his love of hunting. The count and his minions are the only inhabitants of the island, though two other guests temporarily reside there, awaiting repairs to the Count's boat. One of them is Eve (Fay Wray), who tries to warn Bob that the Count is dangerous. But before Bob can really understand the circumstances, he is caught up in the Count's ignoble game.

The film is reminiscent of other theater offerings of the day. It feels like it would appeal to young audiences who were watching the weekly serials, with its melodramatic flair, sloppy fighting, and an appropriately evil villain. The dialogue also lacks subtlety or naturalism. At one point, a man in the water is attacked by a shark and he says, "Ah, he got me!"

McCray does what he can with the role. Wray, only one year before her appearance in "King Kong" (on another island), does a good job with her abbreviated role.

I am a fan of Anne Hathaway. She does not disappoint in this story about a relationship between a man and woman which does not follow the usual course of romances.

We see Emma and Dexter (Anne Hathaway and Jim Sturgess) on the night they first make a connection. And the film is a series of vignettes on the anniversaries of that meeting over the course of eighteen years. As they mature and their lives change, the two manage to stay in touch. That narrative structure results in some weak entries in the "log" of their lives. And there are moments when the relationship is strained to its breaking point. But a special affinity persists throughout.

The story is not strictly chronological. Flashbacks eventually reveal events that account for the resilience of the relationship. And there is a subtlety to the revelation of their dedication to each other.

Hathaway shines, as always. Sturgess is unflinching in his character's portrayal. Fortunately, there is a coda of sorts which allows Dexter to show his appreciation for all that Emma is.

This may not be everyone's idea of an enjoyable film. In some ways, it is an "anti-romance". But it does celebrate Emma and it demonstrates how important it is to appreciate who you have in your life.