Sunday, May 6, 2007



Adam Brody: Carter Webb, a struggling 26-year old writer
Olympia Dukakis: his ailing grandmother, Phyllis
Meg Ryan: Sarah Hardwicke, homemaker
Kristen Stewart: her teenage daughter Lucy
Makenzie Vega: the younger daughter Paige

This is one of those movies that really deserves the “good” rating. It’s not lousy nor is it great, just somewhere in between.

Really there is nothing wrong with it except for Sarah’s out-of-character reaction to Carter’s letter (why can screenwriters not do one more edit before handing over the Shooting Script and clear up things like this? But I digress….) and the acting for the most part is fine (although we’ve seen Meg Ryan in better roles). There are light-hearted moments that provoke smiles if not outright laughter and unlike so many movies of today, it moves at a fairly good clip and is not overly long.

If anything, this “coming-of-age” movie avoids many of the pitfalls so often are part of similar films, except perhaps for the ending.

for sexual content, thematic elements and language.

When Lucy and Paige arrive home they proceed to the front door in that order. The point-of-view changes to the house interior and somehow Paige now is in front.

While Lucy is sitting in a chair talking to Carter, we can see her in the mirror behind him. Trouble is, the mirror reflections of her waving her hands about do not match the direct shots that show her with her hands hanging down by her side.

Lucy parks the car just in front of the garage door on the left-hand side. After speaking briefly they get out of the car which has conveniently slid to the right to give her more space when she gets out.

While Carter is speaking with his ex-girlfriend, she hangs up and we hear the dial tone. Note to the Sound Engineer: the dial tone is there prior to dialling the number, not after. Get it?

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