"Violet and Daisy" with James Gandolfini and Alexis Biedel (2013)

In the grand tradition of movies such as “Snatch” and “Pulp Fiction” this film ranks among the best. With a bit of satire and plenty of sharp tongue in cheek wit, two young hit women; Violet, played by Alexis Biedel; and Daisy, played by Saoirse Ronan; decide to take on one more job before beginning a long overdue vacation.

But when their mutual idol; Barbie Sunday; releases a new fashion line the two women decide to take on the job they initially refused, all in order to buy themselves two new dresses. What happens next defies all logic yet somehow seems as if it could really happen that way. Well, maybe.

When the girls arrive to make their hit, they find the intended target all too willing to meet his fate. This intrigues them and they are hooked on finding out why. Of course this humanizes the target, played by James Gandolfini, making it all that much harder to kill him.

To complicate matters even more, there is another hit team on the way to kill him for another transgression. While Violet goes to get more ammunition to kill him with, Daisy is left with the target and finds that he has terminal cancer. This sort of explains why he is so eager to die, but it also serves to make the girls feel sorry for him.

Through a strange sequence of events Violet ends up killing the other hit team, who are also rivals who may have sexually assaulted her in the past. But still, amidst all of the killing, James Gandolfini’s character; who is a mysterious loner- I don’t recall him having a name; is still not dead.

As time moves on the people who have paid to have him killed look to Violet and Daisy for answers as to why he is not dead. What will they tell him? Will they tell him? Or do they have something up their sleeves that will spare the target and still enable them to get the coveted Barbie Sunday dresses?

Geoffrey Fletcher; the director of “Precious”, wrote and directed this offbeat comedy about offbeat people in an offbeat world. Don’t miss it.

"This is the End" with Seth Rogen and James Franco (2013)

Get ready for one of the most off beat disaster films you will ever see. The film is something like a Cheech and Chong film crossed with “Animal House.” You might say the film is juvenile in nature and be right, but it sure is funny, in a belly laugh type of way.

Two friends meet in L.A. after a year apart with plans to party the time away. One is a rising star in the movie industry, eager to show his old friend the collection of writers and stars that comprise his new world. While at a party with all the ritzy set they go out and see the world is ending.

Spaceships, explosions, people being sucked up into the sky; everything which you can imagine in the worst low budget Hollywood disaster film is assembled here. And with great comic effect as the two go back to the party to warn their friends, only to be rebuffed by these materially possessed people. When they finally realize that the two are not kidding, it is too late.

As the world about them crumbles and goes up in flames the two are separated, with one going up and the other going down to the pits of hell. As they struggle to hold onto one another they are forced to make a decision; let go and save one of them, or be dragged down together.

They choose to say goodbye and as one is sucked upward into the light the beast below swallows his friend, belching fire. But then, just as with Jonah and the Whale, his friend is regurgitated form the belly of the beast; cast upward towards his friend in a shaft of light.

When the two are last seen they are spiraling upwards towards heaven and the light, presumably towards the great party in the sky. This is a very strange film, but funny as hell. Let me know if there is any deeper meaning to it, other than the analogy of Jonah and the Whale.

"Christmas In July" with Dick Powell (1940)

This is one of the quirkiest Christmas movies ever made, as it takes place in the summer. Preston Sturges, arguably one of the greatest directors ever, is in rare form in this film. Dick Powell and Ellen Drew, two young lovers, play a couple with no money but big dreams. 

When Jimmy MacDonald, a young office clerk, played by Dick Powell, enters a contest for an advertising slogan, he has high hopes. And when he is notified that he has won, and can now marry his true love, Betty Casey, played by Ellen Drew, all should end well. But, this is a Preston Sturges movie, and it’s never that simple; ever.

When Jimmy enters the contest with the Maxford Coffee Company, his co-workers decide to have a bit of fun with him. They send him a telegram that says he has won the prize of $25,000. He now believes he has enough to marry his girlfriend, as well as buy extravagant gifts for his friends and neighbors. 

In reality though, the coffee company is deadlocked on their selection, and as Jimmy goes deeper and deeper into debt; with no money forthcoming; what will become of all his hopes and dreams? Will he be branded as a fraud in the heat of the summer; or will he bask in the warmth of a Christmas like miracle in July? I simply will not reveal the ending of this film, which is one of Preston Sturges best cinematic creations. You’ll just have to see. 

"Take Me Home" with Amber and Sam Jaeger (2011)

Claire Barrow’s husband is cheating on her; and would be photographer Thom Colvin can’t sell his work. The illegal cab he owns is not making enough money to even keep a roof over his head when these two mismatched people find themselves together on a cross country trip to scatter Claire’s recently deceased father’s ashes to the wind.

Claire has everything, a successful life and husband, while Thom can’t get off the ground. His past relationships have failed and his parents have no idea what he really does for a living. When Claire finds her husband with a co-worker in a compromising state, she decides to chuck it all and grabs the first cab she sees; which belongs to Thom. Instructing him to drive in no particular direction, the two begin a series of misadventures which take them to Las Vegas and ultimately on to the West Coast, where Claire is re-united with her sisters and their father’s ashes are scattered.

But what happens when Claire’s husband arrives, whisking her back to New York, leaving Thom alone and a bit broken from the journey? Deciding that he must continue on his own, he remains in California. But Claire has trouble relinquishing the new freedoms she has found with Thom, and is faced with a very big decision. Will she remain in her present circumstances, or take a chance on Thom? This is a quirky, off beat film which will leave you smiling about what I label the “human condition.” 

  

"Osso Bucco" with Mike Starr and Illeana Douglas (2008)

As the biggest snow storm to hit Chicago arrives, three couples find themselves stranded in the same restaurant. Unbeknownst to 2 of them, they are all inter-connected. The first couple is a pair of wise guys, Jelly Dinotto, played by Mike Starr, and his cousin Nick, who are on an errand for their boss.  They have stopped off to eat while waiting for their connection. Nick does not know that Jelly is planning on leaving the mob. The second couple is a pair of inept police officers; armed with a warrant; who are there to arrest them.

And finally, the third couple is the restaurant manager and his girlfriend, Megan, played by Illeana Douglas, who is the object of Jelly’s affections. When her boyfriend insults her in front of the patrons, Jelly insists on an apology from him. To further complicate matters, there is only one order of Osso Bucco, a veal dish, left, and two very opposing patrons who want it.

As the two detectives become involved; while trying to exercise their warrant; things go awry quickly, leaving everyone in doubt as to the outcome of the night’s events.

Soon, the weather worsens; the lights go out; and Megan finds herself the only one left armed with a gun. This night will change the lives of all 6 people involved; depending on what Megan does; and what Jelly allows to happen. This is a darkly romantic, fast paced film about love and veal. 

"Guilt Trip" with Barbara Streisand and Seth Rogen (2012)

This was a wonderful film to end the year with. Sue and saw it on December 28^th. It’s also a great movie with which to start a new year; because that’s what this film is all about; endings and beginnings; in that order. To start over requires having closure with the past, and that is exactly what Joyce Brewster, played by Ms. Streisand, and her 33 year old son Andy, played by Seth Rogen, discover when they decide to go on a road trip together from New York to San Francisco, promoting Andy’s new cleaning product.

Joyce is the quintessential Jewish mother, worried that she has not been the mother she should have been; while at the same time being way too obsessed with her son’s lack of a relationship, while she herself has not been on a date in 25 years, since her husband passed away when Andy was only 8 years old.

Andy is usually annoyed with his mother, and during an infrequent visit to see her in New York, she relates the story of the man she was once in love with, years before Andy was born. She even remembers his name, as well as the name of the advertising firm with which he was connected. She also confides in him that he was named for this man, without the knowledge of his late father. Obviously, the torch still burns for what might have been.

Armed with that information, and his laptop, Andy locates the firm and the man. Then he invites his mother to accompany him on his journey promoting his cleaning product. He mentions nothing of the man he was named for, or his intentions to get them together. Since his mother has always inserted herself into his personal life; without invitation; he feels like this is a kind of  justified “payback.”

But, prior to going to San Francisco, his is mother insists on his stopping to see his old girlfriend in order to find out why that relationship; from 15 years earlier; did not work. The big secret that Andy has been carrying around all these years is that she didn’t break up with him; as his mother believes; but rather that he split from her when she said no to his proposal of marriage. She wanted to wait- he didn’t. Inadvertently, once again, Joyce has humiliated her son.

Along the way the Joyce and Andy visit a roadside steak house, with it’s offer of a  50 oz. steak and meal for free; if you can eat it, or pay $100 dollars; Joyce meets a man. With a few more adventures thrown in, they finally arrive in San Francisco to meet her old flame.

The only problem is that the elder "Andy" has passed on. What happens next changes Joyce; and coupled with the changes in her son, Andy, that have taken place during the road trip; they are able to come to terms with their own pasts; which in turn releases them both to pursue their individual destinies.

A wonderfully written  script, directed by Anne Fletcher, this movie sparkles and shines as it weaves its way into your heart. This is a film which may have you tear up a bit at the end, as you realize that sometimes, it takes a huge step backward to begin moving forward again. This film is a real triumph for Ms. Streisand, as well as a real treat for her fans. Try not to miss it.

"The Guard" with Brendan Gleeson and Don Cheadle (2011)

When Irish police Sergeant Gerry Boyle, played by Brendan Gleeson, is teamed with FBI agent Wendell Everett in an investigation of a drug smuggling ring, neither man is sure of what he has gotten into. With Sgt. Boyle displaying every stereotypical trait of a bigoted Irishman; and Agent Everett being overly sensitive to racism; the investigation quickly morphs into high gear as it alternates between a very good plot line and some politically incorrect humor.

Sergeant Boyle is the type who loves confrontation, lives with his dying mother and has a penchant for prostitutes. He could care less about the International drug smugglers. Paired with the very professional and uptight FBI Agent produces some very funny moments as the two learn to accept the fact that they have been thrown together. For better, or worse, the two begin to know each other a bit better as they tray their best to identify and ensnare all the players in this rapid fire comedy.

This film was the Official Selection at both the Sundance and Los Angeles Film Festivals for 2011. Director Michael McDonagh keeps the film on pace, delivering one of the most unusual comedies since “Saving Grace.”

 Pearl Harbor - Too Much Negotiation

This is the USS West Virginia on the morning of December 7, 1941. Negotiations for peace with Japan were underway in New York with the Japanese at the time of the attack. Remember this as you read today’s newspaper; sometimes there can be too much negotiating. The attack on Pearl Harbor is proof of the old adage that “the only thing new is the history we don’t know.”

 

"To Rome With Love" - Woody Allen, Roberto Benigni, Alec Baldwin and Penelope Cruz (2012)

Sue, as a rule, does not care for Woody Allen films. That is until recently when she viewed “Midnight in Paris”, Mr. Allen’s last film. I still haven’t seen that one. (I seem to be stuck on “Whatever Works”).  But this latest release by the iconic writer, comedian, actor and director appealed to us both. So, on a hot summer afternoon, (100 degrees plus), we sought the comfort of a dark, cold theater to spend a few hours in another world, viewing other people’s lives. As usual, at least for me, I was not disappointed. As for Sue, she was delighted with this quirky, off beat film, which is really a love poem to Rome.

The film follows 5 couples; if you count the parents; as one set of prospective in laws, who are American, are about to meet their Italian counterparts. What follows is too complicated to put down here with any justice, so you’ll just have to see the film.

Director Allen states in an interview with McClatchy Newspaper’s Rene Rodriguez, that he had several stories to tell, and so he was “.. so inspired that I couldn’t figure out which story to tell…. Finally I decided to make one movie with a lot of stories in it.” The result is a sprawling, yet connected set of stories intertwined by love, fate, and in some cases stuff seemingly out of left field, but based on the reality we all live.

Roberto Benigni is brilliant as the ordinary man, who suddenly finds himself the center of media attention, where all his movements are scrutinized and his privacy invaded. He is incensed at the turn of events; and has no idea of why he is suddenly famous; but when it is all taken away; his feelings are of being abandoned for a talent he knows he never possessed in the first place.

Alec Baldwin does a superb job as a successful architect returning to Italy, where he once studied, and through a chance encounter meets a young American architect student who lives in the same street where he used to live. He sees himself in the choices being made by the younger man, and I was left wondering whether those sequences were merely in his own mind.

Throw in the antics of two sets of prospective in laws, and the problems engendered by their children as they continue to discover themselves, and this film works on many levels. Woody Allen is at his all-time best in this one, where he basically plays himself. Just a hint at part of his role; he’s the one responsible for the short lived career of a mortician who can only perform opera in public while taking a shower. If that doesn’t get you to see this film, I give up.

Another wonderfully entertaining film from one of the best; and by the way; he’s from Brooklyn.

"Lost In America" with David Brooks and Julie Hagerty (1985)

In this fast paced, and hilarious comedy, Albert Brooks plays David Howard, an advertising executive who gets passed over for a promotion because he is doing a great job in his current position. This sets off a mid-life crisis which causes him to dramatically quit his job, sell his home and embark on a cross country trip with his wife in a Winnebago. Their first stop is in Las Vegas, where his wife Linda, played with exceptional sweetness and naiveté by Julie Hagerty, decides to join her husband in casting caution to the wind. She does this by losing all of the money they got from selling their house in one of a casino.

Of course this is only the beginning of a wild and hilarious adventure; along with a clash of wills; as David and Linda seek to recover their money, as well as the lives they have traded away. The message in this film is pretty clear; the hell you know is almost always better than the hell you might be trading for.

This film was first released in 1985, and became an instant favorite of mine. This is the first time I have re-screened this gem in several years, and even with all the changes in technology which have occurred since then, the film remains fresh and vibrant. The desire to cast it all to the wind and “live among the Indians”, as David puts it, is still alive in most of us. We just don’t get the opportunity to do it. And after seeing this film, you may be glad that we don’t!

Abbott and Costello - Stimulus Plan

I was looking to post something silly today and take the morning off. So, I typed in You Tube Abbott and Costello Double Talk, and came up with this one on the first shot. I can't claim the tie-in to the stimulus plan, that's the work of bluestarchronicles, where it was posted on April 25, 2011. But it is about as direct a rap as you can expect from anyone in, or out of, Washington these days. I kind of wish Abbott and Costello were running for something; they'd get my vote. At least they'd make me laugh while they screwed me!

And here's a great example of the "trickle down" effect, Abbott and Costello style;

"The Palm Beach Story" with Joel McCrea, Claudette Colbert and Rudy Vallee (1942)

One of the scenes shown in yesterday's Valentine's Day post depicted a woman’s toes curling. It was one of the ones I guessed correctly. Coincidentally, it is also one of the newer selections just purchased for the Classics Collection at the Mooresville Public Library. So, naturally I had to take it home. And I'm so glad that I did. It has been awhile since I have seen this quirky, off-beat comedy by Preston Sturges, and in this case, absence makes the heart grow fonder, both for the principal characters, as well as the viewer.

Tom Jeffers, played by Joel McCrea and his wife Gerry, played by Claudette Colbert are broke. He is a struggling architect and the bills have mounted up. They are being evicted from their Manhattan luxury apartment when J.D. Hackensacker III, played by screen legend Rudy Vallee enters their lives as the meddling old millionaire "Sausage king." With a self-deprecating wit and charm, he pays off the couples debts. This causes some friction between the two, and Gerry decides that she can serve her husband best by getting a quick divorce. He is in complete disagreement.

After a night on the town, Gerry leaves Tom, bound for Palm Beach by train. (There are some great scenes of the old Pennsylvania Station in this part of the movie.) Without any money for a ticket, she vies for the attention of a group of old millionaires who are all members of the "Quail and Ale" club. This group is composed of some of Hollywood’s finest character actors, including William Demarest and Chester Conklin, along with Fred "Snowflake" Toones as the beleaguered black bartender, "Snowflake", in what would today be considered a "politically incorrect" role. They are on their annual outing to go hunting, drinking and singing. They quickly vote to adopt her as a member and pay for her ticket. Tom arrives at the station just in time to see his wife leaving.

In despair, he heads home, only to discover that J.D. Hackensacker, III is now his neighbor. The old gent is irritated that Tom is not chasing his wife in order to get her back. So, he finances Tom's train ticket to go and chase her down. On the way he discovers that Hackensacker's sister, the Princess Centimillia, played by Mary Astor, is after him. With the plot all set, it only remains to be seen what happens next in this typically fast paced and funny production, written and directed by the master of the ridiculous, Preston Sturges.

"Goin' to Town" with Mae West (1935)

This is the closing scene from my new favorite Mae West film, "Goin' to Town", which was released in 1935. She plays the widowed wife of a rancher who falls for an English aristocrat. With a lack of what she thinks of as "class", she despairs of ever winning his love. But have no fear, the irrepressible Ms. West, just like the Royal Canadian Mounties, always gets her man.

This film contains 2 really good numbers. I especially liked the blues format of "Now I'm a Lady". As a matter of fact, I liked it so much that I converted it to MP.3 and it now plays in my car, somewhere between "James Brown Live at the Apollo", and Jason Mranz doing "Life Is Wonderful."

I thought I had seen all the Mae West movies, but apparently I missed this one. What makes it so unique is that it opens in a town that is purely 19th Century, and it's not until the first automobile appears, about 15 minutes into the film, that you realize this is a contemporary movie. It takes place in 1934, as evidenced by the close-up of the datebook page in one of the scenes. Also, the airplane trip to Argentina is kind of a giveaway.

There’s lots of fun in this movie, with Ms. West at her best, singing and vamping her way across 2 continents in search of class, and finding true love in the bargain.

"The Miracle of Morgan's Creek" with Betty Hutton, Eddie Bracken and William Demarest (1944)

This is a delightful World War Two film starring the irrepressible Betty Hutton, who plays Trudy Kockenlocker, singing and dancing alongside, and around, Eddie Bracken, who plays her love stricken suitor Norvel Jones, and William Demarest; later Uncle Charlie on "My Three Sons"; as the long suffering father of two girls in a small town during the war. A military base is located nearby, which causes some legitimate concern for the widowed father of two attractive daughters.

Ms. Hutton, is at her all-time best in this tale of a night gone totally wrong for everyone involved. The film opens with the Governor of the State being notified that a woman who resides at Morgan’s Creek has given birth to 6 babies. In an effort to cash in on this phenomenon, and put the state "on the map", the Governor attaches himself to the event with gusto. But trouble lurks when the flashback begins and the identity of the father(s) is called into question.

Basically, after an all-night party for the troops, Trudy wakes up to find herself married and pregnant, but with no memory of her husband's identity. She was with six guys at a dance, and now with six children from that one night, a father must be found.

A very risqué film for its time, I suppose it was the result of the public fervor to "please the boys" in uniform that allowed this movie to achieve the widespread acceptance which it did. It's a fun movie to watch, with wonderful direction by Preston Sturges, who also wrote the script, along with a very talented cast, all of whom still bring life to this story almost 70 years after it was filmed. Here's a clip of Eddie Bracken speaking with William Demarest, who is his prospective father-in law, as well as the town Constable. It's every daughter's nightmare.

"Mr. and Mrs. Smith" with Carole Lombard and Robert Montgomery

Alfred Hitchcock was a very funny man. The legendary director, most well known for his films of suspense, had a very dry, and wry, sense of humor. In the early 1970's when a writer for Esquire showed up at his home for an interview, he was ushered into the kitchen to wait. He was also told to help himself to a drink from the refrigerator. Opening the door the writer was confronted with a wax head replica of Hitchcock, on a platter! When Hitchcock walked in, seconds later, the writer was hard pressed to conduct the interview for which he had come.

Aside from the film "The Trouble with Harry", a story about a neighbor whom everybody wants dead, Hitchcock did very little comedy. In almost all of his films there is an element of humor that sets the audience up for some unexpected and shocking moments. But flat out humor was a genre in which Hitchcock did very little work. That's what makes this film so interesting.

Carole Lombard and Robert Montgomery play Mr. and Mrs. Smith, a couple happily married, although there are a few quirks in their relationship. For instance, when they fight with one another it can last for days. During these fights, the record being 8 days, Mr. Smith neglects his legal practice and the couple remain in their apartment, engaged in a silent war. Only when one apologizes can an argument be called off.

At the end of a 3 day fight- pictured silently in the opening scene, which is almost Chaplinesque in it's layout- Mrs. Smith asks Mr. Smith if he had to do it all again would he still marry her? This is very dangerous ground to trod!

Arriving at his office he is greeted by an official from the state in which they were married. This official explains that due to a glitch in the survey of the town where they were wed, they are in fact, not wed at all. Mr. Smith, not knowing that the same official has visited Mrs. Smith, says nothing to her about it. This is the set up for the rest of the movie, which plays as smoothly as anything by Frank Capra.

A great departure from his usual fare, this film is sharply written, and of course flawlessly directed by the master himself. No Hitchcock film would be complete without his trademark "cameo" appearance, and this film is no different. But you have to really watch for it as this film was made in 1941 when the famed Director had a slimmer profile. Here, courtesy of You Tube is the walk on scene- Hitchcock making his entrance from the left, crossing the entranceway of the apartment building.

"Get Low" with Robert Duvall, Sissy Spacek and Bill Murray

This is a very moving film, one which explores the issues of guilt and redemption, along with forgiveness and faith. Powerful performances by Robert Duvall and Sisssy Spacek, set against the more laid back characters played by Bill Murray, as a Funeral Director, and Lucas Black, as the preacher, make this a slick production , while still maintaining the grit necessary to tell the story.

Robert Duvall gives a very deep, and moving, performance in this drama about an old man, Felix Bush, in the hills of Kentucky, who is ready to die. But he wants to do it his way. He has virtually locked himself in a prison of his own making since the tragedy of 40 years ago. Rumors abound about his actions concerning some unspoken events that drove him to live the life of a hermit, while being shunned by a community that really has no idea why they are shunning him in the first place.

The preacher wants him to make his peace with Jesus, but Felix insists upon taking his plea to the people he may have harmed, including Mattie, Sissy Spacek, who is the sister of someone he loved so long ago, and whose love for her still burns.

There is so much symbolism in this film that it is possible to watch it on several levels. On the first level, it's a wonderful story. On the next level, it is a tale of a man tormented by his own demons, looking for forgiveness. When he cannot find it, he looks to those whom he has directly hurt to gain it.

Planning for a "living" funeral, at which he will be present, he asks that people come to tell the stories, true or otherwise, which they have heard about him. Then he tells them the truth of what happened that night so long ago, asking them to forgive him.

A film that strikes at the heart, and makes you think about the power of forgiveness, and whether it is divine, and gained through faith; or whether it is something to be earned, by doing penance, and then asking for true release from those whom you have hurt. This is a very moving film, showcasing the ever increasing acting abilities of veteran actors Robert Duvall and Sissy Spacek. With superb screen writing, and the absence of special effects, this movie is a winner.

"Whatever Works" with Evan Rachel Wood, Larry David, and Ed Begley, Jr.

Genius writing, along with genius acting, make for a wonderful film experience in this 2009 Woody Allen comedy. This is one of his best films ever, stepping back behind the camera to write and direct, which is what he has always done best. And using Larry David in the role which Mr. Allen had originally intended for Zero Mostel, makes the movie all that much better.(The script was begun with Mostel in mind, but shelved after Mr. Mostel's death in 1977.)

The character of Boris Yellinkoff, played by Larry David, is the main vehicle for this story, and employing the old technique of having him talk directly to the audience, even as the "live" action of the film continues to roll, makes this a very comical, and unusual, film experience.

Boris begins his tale of Doom and Gloom, meeting daily with his friends for coffee, after having failed at a suicide attempt, and losing his wife to divorce. He has given up on everything. He is a bitter old man. That is, until he comes home one evening and finds Melodie St. Ann Celestine, played by Evan Rachel Wood, sitting in the alley by his stairwell.

Boris is kind of like many middle aged men, ranting at the changes in society, and bemoaning the lost years of his earlier life. He is cynical to a fault, and finds himself at odds with those who cannot see the truth, as defined by Boris. Basically, he believes in nothing. We know all of this because Boris never stops talking, even to the audience, as he narrates the story.

Here is a typical quote, "My father committed suicide because the morning newspapers depressed him. And could you blame him? With the horror, and corruption, and ignorance, and poverty, and genocide, and AIDS, and global warming, and terrorism, and the family value morons, and the gun morons. "The horror," Kurtz said at the end of Heart of Darkness; "the horror." Lucky Kurtz didn't have the Times delivered in the jungle."

Prior to the arrival of Melodie in his life, Boris had been a Professor of Quantum Mechanics at Columbia University. He was an expert in the "string" theory. At one point he attempted suicide by jumping out the window of his apartment, only to land on the front lobby canopy, resulting in a permanent limp. He then divorces his wife, quits his job, gives up their beautiful apartment, and takes a back alley dive as his residence.

So, when Melodie Ann shows up, he is immediately skeptical of her motives, and her story. But, a human being is a human being, so Boris takes her in, setting off an intellectual dilemma as he begins to turn her world views into his own cynical interpretation of life. Will that cynicism take root? Or will young Melodie's air of confidence serve to help them both find their individual ways?

When Melodie's eccentric and strange mother, Marietta, played by Patricia Clarkson, shows up, things get even stranger. And Boris' friends can't believe the change in Boris.

But complications arise, as they always do, and Boris, formerly a difficult and misunderstood man, seems to change. I won't tell you what happens between him and Melodie. You need to watch the film to find out. But here are two lines, including the last one from the film, that I hope will inspire you to see this movie.

Boris Yellnikoff: Love, despite what they tell you, does not conquer all, nor does it even usually last. In the end the romantic aspirations of our youth are reduced to, whatever works.

Boris Yellnikoff: See, I'm the only one who sees the whole picture. That's what they mean by genius.