Laurel Canyon (2002) User Reviews (149)

The impact of this film is somehow minimalized by a 'so what' attitude

[marxsarx · 7/10 · 5 May 2003]

"Laurel Canyon" is a story about 'family'. The grown son (Christian Bale) of a record producer (Frances McDormand) ends up bringing his girl friend (Kate Bekinsdale) to California. They expected to stay in his mother's empty home while he worked at a psychiatric hospital and she worked on a thesis. Due to a schedule change, his mother is still in the home when he and his girl friend arrive. It is obvious that there is substantial tension and resentment on the son's side of the relationship. He feels his mother was not a good parent and that she is irresponsible, and she is still living the carefree and wild lifestyle she has always lived. His curious girlfriend is drawn into the lives of his mother and her boyfriend (Allesandro Nivola), with the potential for disastrous results.

Frances McDormand does a fine job as the mother. Christian Bale and Kate Beckinsdale are also good as the young couple. Allesandro Nivola is entertaining as the mother's current lover. This is a nicely done film. However, something seems a bit flat and the story line doesn't pick up as much steam as a good drama should. It tends to have a 'so what' mentality about the immorality taking place, and the result is that the impact of the film is minimalized. Christian Bale and Frances McDormand have a poignant scene at the end of "Laurel Canyon", but again the film strangely mutes the power which the actors imbue their characters with.

I'd rate this film a 70/100. Fans of the actors involved will enjoy seeing their favorites on the screen, but others will most likely be a bit disappointed by this movie.

McDormand rocks

[Snoopymichele · 7/10 · 24 July 2006]

As a huge fan of Frances McDormand, I went in seeing this movie with high expectations of her performance, and was not disappointed. As the record producer Jane, McDormand comes off as both worldywise and vulnerable. Jane's seeking shelter in the storm that is her life-she wants to connect with her son and future daughter-in-law, and she wants to find happiness in the arms of a much younger man, even though deep down she knows the relationship is all wrong. She's terrified of growing old, and has managed to combine single motherhood with a successful career. The always smoldering Christian Bale puts in a simmering sensual performance as her son-the-doctor Sam. Kate Beckinsale, as good as I have ever seen her since Cold Comfort Farm, is Alex, Sam's fiancé who decides to take a walk on the wild side while out in California. As a somewhat sheltered New Englander, she takes like a duck to water the laidback California lifestyle. The transformation is natural, and it does her character a world of good.

The chemistry between McDormand and Beckinsale is crackling throughout, and odd to say, there is more chemistry between these two actresses than there is between Beckinsale and Bale. When his character is sexually attracted to a fellow doctor (played by the ethereal Natasha McElhone) you almost find yourself rooting for the two of them to get together.

A friend recommended that I see this movie, and I am so glad she did-it is severely underrated, and an engaging character study.

Almost Good

[justin-kindy · 6/10 · 17 March 2011]

I'm sure those reading this review have read the plot, so there is no need to go into it again. Frances McDormand transforms herself into yet another different character, Jane, than what she has played before, that of a Rock n' Roll producer who liked the 60's and 70's and decided to never leave the lifestyle, and she does it effortlessly and beautifully. That said, her character is a cliché, at best, which probably helped her step into that role. That is one of the problems with this movie. Most of the characters are clichéd caricatures of what we expect to see. In fact, the plot is so clichéd that you know what is going to happen about 10 minutes into the movie. Another problem with this movie is that if the character is not a cliché, it is an unbelievable character. There are two very noticeable and unbelievable deviations from the cliché. One is in Sam (Christian Bale). Sam is Jane's adult son and is the opposite of his mother, having disliked the lifestyle she immersed him in as a boy. He is pretty conservative and has recently graduated from Harvard Medical School. I've yet to see the son of anyone in that lifestyle decide they want to work long hours at a respectable job. Not very believable. But, Bale puts in a fine performance and is very likable and appealing to the audience. In Bale's case, it is not his fault that he is playing an unbelievable character, because he is very believable as a conservative Psych Doc. The problem lies in the writing of what created this character, his history. The second deviation is in Alex (Kate Beckinsale). Alex is Sam's girlfriend who has not only graduated from Harvard Medical, but is currently working on her dissertation. We're supposed to believe that Alex is so naive and has been so protected that once exposed to the lifestyle of Jane and the rock band she is producing, that she loses her inhibitions and ambition that has gotten her this far. Her slouch towards hedonism is brought about, not by Jane, but by her rock band's lead singer, Ian (Alessandro Nivola), who is also Jane's lover. The only problem is that there is no chemistry between Ian and Alex. There are a few witty comments and you can clearly see the actors looking on at each other to show there is an attraction. They don't even try to hide their supposed attraction when Sam is around (also unbelievable). Ian is yet another clichéd character in this mishmash of cliché and unbelievability. See this movie because both Frances McDormand and Christian Bale are masters of their craft and can pull you into any character they possess. But, expect to see them do this in a pathetic story line.

Subtle, Rich, Film With Fine Performances

[dep_k · 11 June 2004]

If you like being smacked in the face and having characters who behave in emotionally "traceable" ways (i.e., whose motivations are apparent as soon as they act), you won't like this film but what a joy it is to watch a film unfold in layers, slowly, subtly, un-rushed, in a way that most American films don't allow, too much in a rush to get to the next "plot point" and too obsessed with big dramatic turns. Audiences have to be fed such things, constantly, or they'll lose interest, right? Wrong, I hope. And, Laurel Canyon makes the point better than a debate ever will. This is a remarkable piece of tapestry in muted tones and hues, populated by complicated, confused, uncertain, searching people. And, they change. But, they change by degrees, not by full turns of the wheel. Kate Beckinsale should watch this film over and over, and get out of the Spandex and Leather of the comic book films she's been doing. She and Frances McDormand are as real as any two actors you'll ever see on film. There are a couple of possible story "cop outs" in this film, which we won't mention because they'd spoil the story. But, in the end, they might not be cop-outs at all. They might be preferable to answering all the questions and delivering us from the theatre all neatly reconciled and sent off to coffee and desert. Good for you, Lisa Cholodenko. A brave choice and a fine film.

Softly spoken low key

[howardeisman · 6/10 · 18 September 2014]

Meanders along with the main characters speaking softly, sometimes whispering until the louder ending. Everything is low key. I guess this is supposed to be real life naturalistic acting, but the quietness and slowness of things are peculiarly unnatural. What things actually happen, the story devolves into a porn standard plot, written without the sex and with some nudity teases, which makes the whole enterprise rather immature..

Life brings about changes, people do things but do not necessarily change. If you can identify with the characters and their lives, you might find it interesting. "Hey. gang!This movie is about us!" If not, it's pretty boring

Mammas and Pappas in the hot tub

[jotix100 · 7/10 · 18 March 2003]

The best excuse for seeing Lisa Chodolenko's Laurel Canyon is Frances McDormand. She's an actress that delivers in whatever film she ever graces with her presence.

As usual, she does a remarkable job here. Ms. McDormnad's Jane lives among a cool crowd in L.A. where everything goes, everything is possible. She is a free soul who feels right at home with the rock crowd she nurtures as a record producer, even though she has seen better days.

Into that milieu, her son, Sam, and his uppity girlfriend, arrive. They are in for a real treat. Alex, who at the beginning of the film, is so constipated and proper, begins to loosen up. Obviously, she is ripe for some fun since Sam doesn't seem to satisfy her in the sack. How could Jane had produced such a square son? She's better at producing music.

Sam didn't inherit his mom's high libido. He can't even see that Sara, the somewhat mysterious second year intern at the hospital where he is assigned, has other things in mind, besides medicine, but he is so dense, he misses all the clues given to him.

The romps at the pool and the parties of fun and games at the Chateau Marmont are very kinky indeed. Mamma-Jane and Ian, her lover de jour, are predators in search of new blood. They find out that Alex is ready to take the plunge into their game, but horror of horrors, Mamma-Jane has scruples after all.

All the players are very good. Kate Beckingsale's Alex is well drawn, as is the square Sam, played by Christian Beale. Natascha McElone and Alessandro Nivola are very effective in their roles, but without a question, it's Frances McDormand's film and it's only when she dominates the screen that things come alive.

Tough chicken

[manuel-pestalozzi · 6/10 · 15 March 2006]

I watched this movie with my mother. Halfway through it she thought Lisa Cholodenko was an Ukranian filmmaker who wanted to make a comedy about Los Angeles. I told her she was wrong and that it was a feminist view of a Los Angeles native on the war of the sexes. She had to agree in the end.

Men who like soft, womanly women had probably better stay away from Laurel Canyon. It serves tough chicken. And men are wimps. What impressed me (and made me show it to my mom) is the amount of contempt the story shows the the son of the main character, the latter being a domineering, successful music producer who changes her lovers regularly. The son is a trained psychiatrist and a gentle and considerate person who likes to live a life one might call conventional. His aim in life seems to be to serve and to be useful, not personal success or even glory, maybe not even satisfaction (the opening sex scene with the girlfriend seems to indicate that). Not surprisingly he blames his mother for the instability he experienced as a child and would like to keep his distance from her. Yet he moves into her house in Laurel Canyon for professional reasons, assuming she would live elsewhere at that time. For some unexpected reason this is not the case. Along with the son comes his equally conventional, career oriented highbrow girlfriend who likes to finish her doctoral thesis. The girlfriend is fascinated by the encounter with the mother and her entourage and „opens up" and blends in. He does not and I felt that it is somehow held against him.

The movie sets out to show that the son hasn't got a chance against his powerhouse mother and that his lifestyle and attitudes are basically wrong and stupid. It does not explain the characters, the girlfriend's transformation for instance is presented with disarming simplicity as a „natural process". Within the social dynamics of the ashram-like household the ideal man is presented: an irresponsible acting cute sex toy who also happens to be a musician and singer (although not a very good one) and who, I assume, is already scheduled for being discarded in due time.

The cast is better than the story. Frances McDormand is really brilliant as the mother and gives her character unexpected charm and charisma. It really makes you believe she is successful in her job. Natascha McElhone's beauty is somehow beyond belief and slightly surreal. She plays the son's companion from work and potential lover. That wimp is of course much too inhibited to seize the opportunity. The relationship remains platonic, which may well cause further frustration and loathing. Incidentally, the location which serves as the mother's house is just beautiful (I wouldn't mind living in a place like that) and well used as location.

I did not like this movie, and yet I can recommend it. It's interesting and offers a lot for later discussions.

Well crafted drama

[Floated2 · 7/10 · 9 October 2021]

Featuring an great casts of lead actors and even with a relatively simple plot, Laurel Canyon succeeds due to the writing, the actors themselves and the overall storyline of the film. The drama and relationships among the film do feel very real and part of the reason is the acting. Although a disappointing and open ended ending, this film is worth the watch and quite underrated.

A well-made character study, `Laurel Canyon,' explores the reasons for the distress and resentment that can reside between parents and their children.

[ilovedolby · 8/10 · 9 June 2003]

People are often disappointed in the ones that love them or the ones that they love. This disappointment can stem from the mistakes made by parents in the upbringing of their children, or perhaps the simple differences that separate family members. It is this frustration that plagues Christian Bale's character, Sam, in the film `Laurel Canyon.' A well-made character study, `Laurel Canyon,' explores the reasons for the distress and resentment that can reside between parents and their children. `Laurel Canyon' is about a man named Sam (Bale) and his fiancé Alex (Kate Bekinsale) who move to California so he can begin his medical residency at a local hospital and she can finish her dissertation. The pair moves in with Sam's mom Jane (Frances McDormand) who is record producer who lives on Laurel Canyon Road in Hollywood. Although she is in her mid 40s, she lives the life of a rock star, smoking pot, drinking, partying, and hanging out with her rock star boyfriend Ian (Alessandro Nivola), who is 16 years younger than she. Sam and Jane are always at odds with each other as he is ultraconservative and Jane is like a teenager. The two must weed out their problems and come to terms with each other about the mistakes that Jane made while bringing up Sam. Although a bit slow at times, `Laurel Canyon' was an interesting film that has its lighthearted and touching moments. It's funny to watch the subtle changes that begin in the characters lives. Alex, although conservative like Sam, is slowly being drawn into the free spirited world of Jane's home, with her parties and rock friends always around. Sam is being tempted by the fruit of another woman named Sara (Natascha McElhone), as their share their sexual desires with each other over private conversations in a car. And even Jane is beginning to recognize her own faults-she had several lovers throughout her life is starting to feel the need to settle on just one, Ian. Every character starts to understand that they are all the extreme end of different spectrums and they must learn to meet somewhere in the middle. The acting in the film was excellent. Every actor was believable and to a certain extent, the audience can feel their pain and happiness. McDormand (`Fargo') and Bale (`Empire of The Sun') steal the show with their amazing abilities to transcend the characters in the script to the dynamic people they present on the screen. Praise must also be given to Bekinsale (`Pearl Harbor') and Nivola (`Jurassic Park 3') for their exceptional performances.

One other superior quality of `Laurel Canyon' was the music, some of which was sung by Nivola. The soundtrack holds a great deal of classic rock songs from groups such as `Steely Dan,' `Leroy' and `Mercury Rev.'

Overall, `Laurel Canyon' was a very good movie that reminds its audience to look beyond the surface of things and to see what really matters in all relationships-love. ***

Rather cold... but good after all.

[rainking_es · 7/10 · 31 January 2006]

Laurel Canyon is above all a movie about feelings and relationships. A liberal mother, kind of hippie; a son that's much more conservative and that does not accept his mother's way of life; the son's fiancé, who's so engrossed in her studying that she has forgotten to live and enjoy life. Incomplete lives that may complete each other... and since it is a movie about emotional stuff it shouldn't fail precisely in that aspect: there are only 2 or 3 sequences that are really moving, meanwhile the rest of the movie passes between indifference and coldness.

Anyway, the final assessment it is rather positive, taking into account this was only the second Cholodenko's film: she knows how to move the camera, she's not pretentious at all, and the actor's selection is just nice: Christian Bale (the son) and Frances McDormand (the mother) are two of the best active actors. Kate Beckinsale is not as good as them, but she looks credible as the posey-swot girlfriend of Bale's character.

*My rate: 6.5/10

biggest disappointment of the year!

[jcanalia · 3/10 · 19 July 2003]

I can't believe that critics and moviegoers alike love this movie. based on the reviews I read in the Chicago papers, I was very excited to see this movie. I'm glad I waited until it came out on video.

The plot of this movie was obvious from the 5 minute mark when Sam and Alex are on the plane and he's complaining about how awful it's going to be staying with his mother for 2 weeks. The characters are one dimensional and their actions are inexplicable. Why would Alex's charecter ever be drawn to the band people; because she wanted to see the other side? Please, these people were borish and disgusting. What was her motivation for exploring her dark side? Was there something wrong with her relationship? Was there something troubling her about her work? Did she have a troubling relationship with her parents? Who knows, there really wasn't any motivation given for any of the characters actions. The only possible explanation is selfishness and that's just plain boring.

But, beyond all of this, the most preposterous plot line in the movie was the relationship between Alex and Jane. In what world does Alex, with her level of education and intelligence, with her backround and upbringing, ever enter into the relationship she has with Jane. This women is potentially her future mother-in-law. Although it might make for some interesting Christmas dinners.

I believe Frances McDormand is one of the great actresses in American cinema. But all the great ones make stinkers, lets hope this is hers.

A Great Tour -de-Force for McDormand

[ManOfLit · 9/10 · 26 January 2005]

This is an insightful and truly under-appreciated film. And, as anyone who has lived in the Hollywood/ West Hollywood area can attest, the film is also a very accurate portrayal of LA life in the biz. Bale and Beckinsale shine as well. Definitely McDormand's best work outside of "Fargo"; her versatility and talent continue to amaze and impress. The producers' choice of music is perfect and truly reflects the mood and tone of the film--it makes me want to go out and buy the soundtrack. :) Also, "Laurel Canyon" shows how frail and tenuous life's relationships can be. By straying from the "norms" of his serious, medical student world, Bale understands his mother's complexities and foibles and thus establishes the bond with her that he has possibly sought all his life. Well done!! *** 1/2

You can work on me all night long.

[lastliberal · 7/10 · 22 June 2007]

Frances McDormand (Fargo, North Country) steals this movie, written and directed by Lisa Cholodenko, with her relaxed portrait of a successful record producer whose never-ending quest for the ideal lover has tarnished her relationship with her son (Christian Bale).

While many people would be envious of having a mom who's a rich and famous rock-music producer and totally cool, Sam (Bale) sees only an irresponsible parent who refuses to grow up. "She's developmentally disabled." It doesn't help that mom is lot for the band's lead (Alessandro Nivola), who is half her age.

His W.A.S.P. fiancé (Kate Beckinsale) starts putting aside her dissertation on the reproductive qualities of fruit flies to hang out in the studio with the band.

Some may wonder what the point is, and if all the characters are losers in their own way, but I think having a mom who teaches lessons like "pass the bong to guests first, son," is way cool.

Of course, the best part of the film is the cast - I love McDormand in everything she does - and the music.

And Why Do I Care?

[pjkdog · 1/10 · 27 January 2006]

This was one of those movies that I think because of the premise, gets great reviews in alternative weekly presses, but strip away the shock value of the story and you get a movie filled with characters that you really don't care about. So many people are lauding Frances McDermott's performance, well just because the dinner is made with good ingredients doesn't mean the meal will be superb. Her character was just "oh so cool" and if she really cared for her son so much I think she might have actually thought about what she was doing, instead she hurts him in so many ways. This and the Beckinsale character's actions would be forgivable if Bale's character was really deserving of all this, but I just felt sorry for him for having to be surrounded by these people. Lastly, can anyone say they actually like the rock star in this movie? With him, Frances and all the rest of the lot living there I was just hoping to see a nice mud slide come and take out that damn house.

Absorbing character study with California ambience

[Brennan-8 · 2 March 2003]

I saw this film at the Miami International Film Festival and was thoroughly absorbed and entertained. I don't know if it will be as successful as the director's much-lauded "High Art" from several years ago; "Laurel Canyon" is not as serious, though it does explore some of the same themes. All of the performances are pitch-perfect. I suspect audiences will especially enjoy and identify with Kate Beckinsale's character: a studious and sheltered young doctoral student who takes to the hedonistic Los Angeles lifestyle in a big way. Frances McDormand and Christian Bale are also wonderful.

Music is almost another character in this film; it pervades the atmosphere. The music, by such artists as Mercury Rev and Clinic, complements and underscores the dynamics between the characters. It's been awhile since I've seen a movie with such an intoxicating sense of place as well: whether accurate or not, Los Angeles is portrayed as a sybaritic wonderland. The film revels in the sensuality and freedom of this rarefied realm, and it's intriguing to see the effect on the young couple.

When Frances McDormand's music producer character asks Alex her opinion on the record she's producing, Alex declines, saying she doesn't know much about popular music. McDormand responds, "Follow your instincts. It either pulls you in or it doesn't." This movie pulled me in.

Music Hollywood

[meeza · 7/10 · 23 June 2004]

`Laurel Canyon' is no grand canyon archetype film but it does possess enough cerebral quirks for a marginal recommended viewing. Christian Bale stars as Sam, a constrained yuppie who is engaged to another constrained yuppette played by the luscious Kate Beckinsale. By the way, is there a more attractive actress than Kate Beckinsale? She is a vanity goddess! God, would I like to see her canyons? Anyway, back on track to `Laurel Canyon'. The film revolves around Sam & his fiancée's visit to his mother's Laurel Canyon mansion. Frances Mcdormand plays Jane, Sam's outspoken mother. She is a middle-aged music producer who still enjoys the virtues of the rock-n-roll life. Lady Mcdormand's performance as Jane the music producer produced greatness. Jane has her own young Tarzan in Alessandro Nivola as Ian Mcnight, a half-her-age British rock musician who is very sexually liberated. Alessandro, who was superb as Nicolas Cage's brother in `Face Off', is one actor who is up-and-coming and will probably face off with some elite thespian peers in the near future in blockbuster films. Writer-Director Lisa Cholodenko's look at the egoistic music business & its effect on its occupants' family members does possess vivid qualities. However, it hits `Laurel Canyon' rock bottom when it pays way too much attention to itself. Even though intriguing, there is no connection or endearment for the egoistic characters of the film. I do recommend a trip to `Laurel Canyon' but not an extended stay. *** Average

good character development, bad plot

[ak7070 · 6/10 · 26 December 2005]

The overall plot was weak, but they did a fair job of character development. I thought this was especially true for Sam (Christian Bale): at the beginning I found him so 1-dimensional but thought they really added some complexity to the character by the end that made me think about who this person was. Any movie that can make me think about the characters after the movie is over, did a good job of developing characters.

Also, I think this movie possesses what has to be one of the most realistic and sexy scenes ever: when Sam & Sara are sitting in the car telling each other what they've fantasized doing to one another, I found that so raw and sexual. Almost uncomfortable.

Frances MacDormand is good--she's always good--but I thought this was a bit too easy for her. Like she just sort of laid back and played her role.

I'm in love with both Christian Bale and Frances MacDormand so I had to watch this, but with the exception of the car scene, it was not great.

New Meaning

[Dog112 · 6/10 · 27 June 2018]

This movie has given me a new understanding and appreciation of a word I first learned in high school chemistry class: sublimation. That was when I learned that a solid could transform directly to a gas withoout becoming a liquid. But this movie introduced another meaning, and served it on a platter in the last scene.

Great flick and good performances by the cast, The movie ended without meaning but then again, not really.

[techz · 7/10 · 22 March 2003]

First of all, Another great performance by one of my favourite actors, Christian Bale as Sam. Ive been going for weeks now seeing alot of junk movies being released, and today i got a screener of this movie. I really enjoyed it, i know some of you will be disappointed about the movie's ending, but keep in mind that this is not always the case. 7/10

Terrific character piece, wish it had an ending

[Spanner-2 · 8/10 · 10 March 2003]

In this film, currently playing only the arthouse theaters, Christian Bale brings his fiance (Kate Beckinsale) to L.A. to live in his mom's house temporarily while they try to find their own place. His mom however, is a free spirited record producer prone to wild parties and doping... and is also sleeping with the lead singer (Alessandro Nivola) of the band she is producing. Frances McDormand plays the mom and is terrific in the role, as she shows that she loves her life and does care about her estranged son, even as she winds up seducing Beckinsale's character into her lifestyle. The cast is great, the location work in Laurel Canyon is terrific and the characters are all interesting people. My only gripe would be about the ending, or lack thereof.. the film just kindof ends without a resolution. GRADE: A-

Without Frances what a clunker this would be....

[wisewebwoman · 6/10 · 9 April 2003]

I was really looking forward to this one. Anything with Frances in it is a must see for me. Frances tries something wonderful in this, and it works. She plays this pot-smoking, drinking, cursing, hitting-on-young-rock-stars forty plus successful record producer with an uptight son who is a psychiatrist. There was the potential for a great movie here and it falls far short of this. For one there is really no plot, the script meanders around. In Frances' hands it is riveting; in the others with their weird accents and an odd lack of depth to the characters it falls flat. I just waited for Frances to be on screen throughout the movie. This is a multi-layered performance and how she does it is why she is one of the best actors in the business today. Underneath this brilliant, crusty and rough exterior you see the odd flicker of vulnerability and you never for a moment doubt that though she hasn't got a clue as to who this son of hers is, she does love him. I found the other female characters mere shadows, not developed at all. I gave it a 6 - every one of them for Frances.

Why this movie is a failure.

[markos-9 · 3/10 · 20 March 2004]

We don't see often scripts like this one on our screens. Even if I don't agree with its message, I loved the basic idea and the way it was written. BUT...

*Spoilers* ...this movie has failed. This is a perfect example of how long is the distance between a good script and a good movie. The war between emotions and logic seems to be eternal and we'll probably never stop writing or making movies about it. In this movie, the messages are strong and disturbing, specially the relationship of Sam's mother with her daughter in law. No culture can accept this thing as natural, and even if it had only a semantic function in the writer's mind, it should be presented in a very artistic way in order to make the whole thing work. Something that does not happen here. The movie is filmed like an ordinary family picture, with nothing innovative, and it's definitely poor in art. In order to make this picture work, I believe that they should either erase this sick relationship and keep their crew as it is, or keep the original script and call Polanski to film it or something. In brief, I believe that this is a lost opportunity. It could have been a great movie, but it has turned out to be just sick soft-core. Sorry, 3/10.

Captivating Trivial Story

[vasco_cid · 10/10 · 12 October 2006]

Laurel Canyon deals about the adversities you have to deal with whether you are more or less experienced. Every character on this story has different experiences: some are more naïve, some are more bohemian, some are more averse, and some don't care at all, but all of them have consciously made a mistake. I say consciously because there's no such thing as someone making mistakes in these situations without thinking thoroughly about the outcome. The premise and development are as simple as it can be, but simplicity doesn't mean banality. The screenplay in its simplicity has an incredible depth and reliability, whether it is on the awkward situations characters get into, or the sexual adventures, that some of us have been through. And to those who have, this movie speaks our language, because it relies on us and us in it. This is why some independent movies are such a pleasure to watch, because even though we are not there, we are those characters.

A Stellar McDormand Soars Over an Oh-So-El-Lay Social Dramedy

[EUyeshima · 6/10 · 9 May 2006]

It's good to see Frances McDormand dominate this 2003 movie rather than steal scenes in other stars' vehicles like "Something's Gotta Give" and "North Country". With her piercing intelligence and insouciant manner, she is in top form as Jane, a successful, proudly bohemian record producer who lends her Hollywood Hills house to her estranged son Sam and his equally conservative fiancée Alex to occupy while he starts a residency in the psychiatric ward of an LA hospital. Alex and Jane have never met because he is embarrassed by his hippie mother. Much to his consternation and despite Alex's initial need to work on her genomics dissertation on the reproductive habits of fruit flies, the two women start to bond bolstered by the presence of Jane's sixteen-years-younger rocker boyfriend Ian whose record Jane is producing. Meanwhile, Sam finds unexpected chemistry with fellow resident Sara who pursues him with a becalming fervor. The standard romantic complications ensue amid a lot of LA-style partying and the inevitable conflicts that occur between parents and children. Even though the movie has a veneer of appropriate hip-coolness mostly due to Wally Pfister's deft cinematography, the story feels very by-the-numbers with plot developments telegraphed pretty much from the outset and an ending that saps the energy out of the whole venture.

Directed and written by Lisa Cholodenko, the film has lots of vivid images but not enough of a melding between audacity and credibility to make it exceptional. The most far-fetched, underdeveloped element is Alex, as embodied literally by a tentative Kate Beckinsale, who seems ludicrously naive for someone who graduated top of her class at Harvard Medical School and looks like an aspiring supermodel. Luckily the other actors fare better with Christian Bale effectively uptight and unforgiving as Sam, the striking Natascha McElhone using an Israeli accent to much too alluring effect as Sara, and Alessandro Nivola (bearing a certain physical resemblance to Coldplay's Chris Martin) constantly threatening to steal the picture as the hedonistic Ian. Nivola also sings quite credibly as the band's front man. But it's McDormand who conquers the film's potential clichés and predictable story turns with her sexy, free-spirited performance. The DVD is short on extras - Cholodenko's earnest commentary, a few trailers and a twenty-minute making-of featurette that is really just an interview with Cholodenko, who reveals she was inspired to make the film by Joni Mitchell's classic 1970 "Ladies of the Canyon" album.

Terribly unsubtle, with all character motivations and plot-points telegraphed far in advance...

[moonspinner55 · 5/10 · 24 January 2007]

Tempers--and libidos!--are bound to flare up when a young handsome first-year resident at a Los Angeles hospital and his practicing M.D. girlfriend go to stay with his promiscuous, pot-smoking record-producer mother who lives up in the Hollywood Hills. Sophomoric direction handicaps an already beleaguered script which sees Los Angeles as Partytown, with no grasp of musical or cultural history behind all its flaccid chatter, nor an intuitiveness about the surroundings (writer-director Lisa Cholodenko seems to have a fetish for California architecture, with mailboxes piled up and buildings zooming by, but she treats it as rustic eye-candy with no subtext, so that the ambiance of the surroundings nearly becomes irrelevant). Frances McDormand gives the film some personality (her straightforward, yet unhurried and unhindered nature does more for the picture than it does for her), but the younger players all look and act like supermodels and the sub-plot about a rock band trying to get their new record in the can is curiously naive. ** from ****