It seems I'm always disappointed in movies these days, but over the past few weeks, I've been pleasantly surprised by three movies: Ira & Abby, The Boondock Saints, and Were the World Mine. The only thing they have in common is that they are non-studio independent films. First up is Ira & Abby, a delightful post-Woody Allen romantic comedy set in New York. Ira (Chris Messina) is a cute-nebbishy guy stuck in dissertation hell (i.e., he says he's working on his dissertation but he's not and will almost certainly never finish). His love life is in neutral as well; it's expected that he'll marry his long time girlfriend, even though they break up and get back together regularly. After his analyst suggests that he needs to make some changes in his life, he visits a gym, only half-inclined to join, but winds up falling for Abby (Jennifer Westfeldt), a charming, slightly scatterbrained membership salesperson at the gym--think Phoebe on Friends but smarter. The very afternoon they meet, they have sex in her office and she proposes marriage--think Dharma and Greg, but better.
The rest of the movie follows the course of their relationship from the wedding to the first fights to an annulment, to a reconciliation and remarriage, to the realization that they still don't really know each other all that well, and so on. The proceedings do have a Woody Allen feel and for me, that's a compliment (though Manhattan is not shot as magnificently as in Allen's movies, and the wit is not as pointed here). There are a few marginal sidekick characters, including a small bit from a pre-Mad Men Jon Hamm who you won't recognize, but the real supporting gems are the parents: Judith Light and Robert Klein as Ira's folks, both analysts, and Fred Willard and Frances Conroy as Abby's folks, more carefree people who do voice-over ad work. In fact, eventually the movie becomes almost as much about them as about the title pair, especially when Willard and Light embark on an unlikely affair.
All the actors are just wonderful, and though the writing (by co-star Westfeldt) and directing (by Robert Cary) are strong, the acting is the reason to watch this film. Messina (Julie's husband in Julie & Julia) is a perfect young 21st century Woody Allen-type, though much sexier and a just a bit less neurotic; Westfeldt brings a welcome seriousness and intelligence to her free spirit character. All four parents are quite good, though Light (seen above with Willard) is a real scene-stealer. Good supporting performances are given by a number of actors (including Jason Alexander) who play various analysts and counselors along the way, leading to a climactic scene in which all the therapists and patients gather in one big room. And I'm torn about whether or not to spoil the ending; I think I won't, except to say that the "message" about love and marriage isn't quite what you will expect. It's just a lovely, light, fun comedy that I recommend highly.
It seems I'm always disappointed in movies these days, but over the past few weeks, I've been pleasantly surprised by three movies: Ira & Abby, The Boondock Saints, and Were the World Mine. The only thing they have in common is that they are non-studio independent films. First up is Ira & Abby, a delightful post-Woody Allen romantic comedy set in New York. Ira (Chris Messina) is a cute-nebbishy guy stuck in dissertation hell (i.e., he says he's working on his dissertation but he's not and will almost certainly never finish). His love life is in neutral as well; it's expected that he'll marry his long time girlfriend, even though they break up and get back together regularly. After his analyst suggests that he needs to make some changes in his life, he visits a gym, only half-inclined to join, but winds up falling for Abby (Jennifer Westfeldt), a charming, slightly scatterbrained membership salesperson at the gym--think Phoebe on Friends but smarter. The very afternoon they meet, they have sex in her office and she proposes marriage--think Dharma and Greg, but better.
The rest of the movie follows the course of their relationship from the wedding to the first fights to an annulment, to a reconciliation and remarriage, to the realization that they still don't really know each other all that well, and so on. The proceedings do have a Woody Allen feel and for me, that's a compliment (though Manhattan is not shot as magnificently as in Allen's movies, and the wit is not as pointed here). There are a few marginal sidekick characters, including a small bit from a pre-Mad Men Jon Hamm who you won't recognize, but the real supporting gems are the parents: Judith Light and Robert Klein as Ira's folks, both analysts, and Fred Willard and Frances Conroy as Abby's folks, more carefree people who do voice-over ad work. In fact, eventually the movie becomes almost as much about them as about the title pair, especially when Willard and Light embark on an unlikely affair.
All the actors are just wonderful, and though the writing (by co-star Westfeldt) and directing (by Robert Cary) are strong, the acting is the reason to watch this film. Messina (Julie's husband in Julie & Julia) is a perfect young 21st century Woody Allen-type, though much sexier and a just a bit less neurotic; Westfeldt brings a welcome seriousness and intelligence to her free spirit character. All four parents are quite good, though Light (seen above with Willard) is a real scene-stealer. Good supporting performances are given by a number of actors (including Jason Alexander) who play various analysts and counselors along the way, leading to a climactic scene in which all the therapists and patients gather in one big room. And I'm torn about whether or not to spoil the ending; I think I won't, except to say that the "message" about love and marriage isn't quite what you will expect. It's just a lovely, light, fun comedy that I recommend highly.
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