PARK CITY -- At a time when directors are falling over each other to scramble the medium's form, it is reassuring and invigorating to see a film like "Starting Out in the Evening" that succeeds so beautifully because of a compelling story, great acting, intelligent writing and sensitive direction. Andrew Wagner's portrait of an aging writer and his adrift daughter cuts across generational lines, capped by an astounding performance by Frank Langella. This is a picture with real boxoffice potential for a selective audience.
The film opens with Leonard Schiller (Langella) staring at the blank page, hands on his chin. He is a once-acclaimed novelist, now out-of-print, who has been working on his latest book for ten years. He is from the generation of '50s New York intellectuals who are faithful to a code of behavior. His life is structured and joyless, but he is not unkind; he has a loving relation with his daughter Ariel (Lili Taylor).
Schiller's orderly life is shattered by the arrival of the brash and beautiful graduate student Heather Wolfe (Lauren Ambrose) who is writing her Master's thesis on him. Not wanting to disrupt his writing routine, he at first declines to cooperate, but changes his mind and gradually opens up to her.
Watching Langella struggle with the character's resistance is to observe a pro at work. He totally inhabits the character with his voice, gestures and erect posture. And Ambrose almost keeps pace with him. Her character is a piece of work -- smart but also cunning (hence her name, Wolfe) and ambitious. Her intimacy with Schiller is at once a schoolgirl crush, an admiring fan and an opportunistic writer.
She goads Schiller by telling him that he's "using his age to mask a deeper conflict," and proceeds to pick at the scabs of his life, including the long-ago death of his wife. Her candor and optimism is both refreshing and frightening to a man who is not accustomed to expressing his feelings and wears a tie to breakfast. In a quiet but startling moment near the end of the film, he slaps Heather lightly, and in that gesture one can read all of his conflicting feelings.
At the same time Heather is invading Leonard's world, Ariel is struggling with her own issues. Close to 40 and desperate to have a child, she is nonetheless deeply in love with a man (Adrian Lester) who doesn't want to have children. Having chosen someone who lives in his head much like her father, she must now figure out her own life. An ex-dancer-turned-Pilates-teacher, she is a touching and believable character, thanks to the warmth and vitality Taylor brings to the role. It's a terrific performance in a film filled with them.
"Starting Out in the Evening" could easily have tipped over into the maudlin and sentimental were it not for Wagner's precise direction and his succinct script, written with Fred Parnes (based on a novel by Brian Morton). Beautifully shot on locations in New York in an unbelievable 18 days by Harlan Bosmajian, the film manages to keep its balance, aided by a lovely and restrained score by Adam Gorgoni.
In the end, Schiller, his health deteriorating, is faced with the same blank page. Confronting the madness of art and the cruelty of old age, he must decide to start out again in the evening. Like a Beckett character, he can't go on, he goes on.
STARTING OUT IN THE EVENING
Cinetic Media, InDigEnt
Credits:
Director: Andrew Wagner
Writers: Fred Parnes, Andrew Wagner
Producers: Nancy Israel, Fred Parnes, Gary Winick, Jake Abraham
Executive Producers: John Sloss, Gregory Moyer, Douglas Harmon, Allen Myerson
Director of Cinematography: Harlan Bosmajian
Production Designer: Carol Strober
Music: Adam Gorgoni
Costume Designer: Claudia Brown
Editor: Gena Bleier
Cast:
Leonard Schiller: Frank Langella
Ariel Schiller: Lili Taylor
Heather Wolfe: Lauren Ambrose
Casey Davis: Adrian Lester
Victor: Michael Cumpsty
Running time: 105 minutes
No MPAA rating...
The film opens with Leonard Schiller (Langella) staring at the blank page, hands on his chin. He is a once-acclaimed novelist, now out-of-print, who has been working on his latest book for ten years. He is from the generation of '50s New York intellectuals who are faithful to a code of behavior. His life is structured and joyless, but he is not unkind; he has a loving relation with his daughter Ariel (Lili Taylor).
Schiller's orderly life is shattered by the arrival of the brash and beautiful graduate student Heather Wolfe (Lauren Ambrose) who is writing her Master's thesis on him. Not wanting to disrupt his writing routine, he at first declines to cooperate, but changes his mind and gradually opens up to her.
Watching Langella struggle with the character's resistance is to observe a pro at work. He totally inhabits the character with his voice, gestures and erect posture. And Ambrose almost keeps pace with him. Her character is a piece of work -- smart but also cunning (hence her name, Wolfe) and ambitious. Her intimacy with Schiller is at once a schoolgirl crush, an admiring fan and an opportunistic writer.
She goads Schiller by telling him that he's "using his age to mask a deeper conflict," and proceeds to pick at the scabs of his life, including the long-ago death of his wife. Her candor and optimism is both refreshing and frightening to a man who is not accustomed to expressing his feelings and wears a tie to breakfast. In a quiet but startling moment near the end of the film, he slaps Heather lightly, and in that gesture one can read all of his conflicting feelings.
At the same time Heather is invading Leonard's world, Ariel is struggling with her own issues. Close to 40 and desperate to have a child, she is nonetheless deeply in love with a man (Adrian Lester) who doesn't want to have children. Having chosen someone who lives in his head much like her father, she must now figure out her own life. An ex-dancer-turned-Pilates-teacher, she is a touching and believable character, thanks to the warmth and vitality Taylor brings to the role. It's a terrific performance in a film filled with them.
"Starting Out in the Evening" could easily have tipped over into the maudlin and sentimental were it not for Wagner's precise direction and his succinct script, written with Fred Parnes (based on a novel by Brian Morton). Beautifully shot on locations in New York in an unbelievable 18 days by Harlan Bosmajian, the film manages to keep its balance, aided by a lovely and restrained score by Adam Gorgoni.
In the end, Schiller, his health deteriorating, is faced with the same blank page. Confronting the madness of art and the cruelty of old age, he must decide to start out again in the evening. Like a Beckett character, he can't go on, he goes on.
STARTING OUT IN THE EVENING
Cinetic Media, InDigEnt
Credits:
Director: Andrew Wagner
Writers: Fred Parnes, Andrew Wagner
Producers: Nancy Israel, Fred Parnes, Gary Winick, Jake Abraham
Executive Producers: John Sloss, Gregory Moyer, Douglas Harmon, Allen Myerson
Director of Cinematography: Harlan Bosmajian
Production Designer: Carol Strober
Music: Adam Gorgoni
Costume Designer: Claudia Brown
Editor: Gena Bleier
Cast:
Leonard Schiller: Frank Langella
Ariel Schiller: Lili Taylor
Heather Wolfe: Lauren Ambrose
Casey Davis: Adrian Lester
Victor: Michael Cumpsty
Running time: 105 minutes
No MPAA rating...
- 1/23/2007
- The Hollywood Reporter - Movie News
PARK CITY -- That adage "Don't cut off your nose to spite your face" is nicely apt for "Saving Face", a juicy Chinese-American romance about preserving "face" at the sacrifice of your whole being. This Sony Pictures Classics release is a comic gem and will flourish as a word-of-mouth hit for discerning audiences.
First-time filmmaker Alice Wu, who left a certain future in computer science to forge her spunky entertainment, exhibits a veteran's hand in balancing character with comedy. "Saving Face" is a frothy delight, robust with strong and conflicted characters. It often is deliriously funny, thanks to Wu's decidedly raunchy sensibility.
In this romance, Wilhelmina (Michelle Krusiec) suffers the same plague as many "perfect" daughters: She is constantly nagged by her Chinese-born mother (Joan Chen) and hounded by her grandparents, survivors of the Cultural Revolution. By most standards she is a success, a promising surgeon and personable young woman. Not surprisingly, she is regarded with concern and pity by her family elders -- at 29 she is unmarried and, indeed, seems a bit of a klutz with men. But, Wil has her standards, not falling for the rich, chauvinistic losers that she encounters at the frequent Chinese singles parties. And she carries a big secret.
With its idiosyncratic verve, it's hard to notice that "Saving Face" fits an old romantic formula, but in this case with a new spin: Girl gets girl-girl loses girl-girl gets girl. The other "girl" in this winning equation is a lithesome and talented dancer, Vivian (Lynn Chen), who wins Wil's heart.
Spinning her story through the minefields of Wil's professional colleagues, uptight relatives and reproving mother, Wu weaves a ripe and quirky entertainment. Most wonderfully, as each character emerges, we see that they are not really what they seem on the surface. In the end, we see through these "faces" to some remarkable and identifiable people. The talented cast plays a big part in the film's joyous eloquence, most eminently Krusiec as the spunky daughter/surgeon. Lynn Chen is beguiling as her dancer lover, and Joan Chen is terrifically feisty as a dragonlady with her own dark secret.
"Saving Face"'s jaunty pace reflects the talented technical team. Cinematographer Harlan Bosmajian's compositions are packed with telling traits of character, and editors Susan Graef and Sabine Hoffman enliven the proceedings with a magical grace and rhythm.
SAVING FACE
Sony Pictures Classics
Overbrook Entertainment presents
a film by Alice Wu
Credits:
Producers: Teddy Zee, James Lassiter, Will Smith
Executive producers: John Penotti, Robin O'Hara, Scott Macauley
Director-screenwriter: Alice Wu
Line producer/unit production manager: Bergen Swanson
Production designer: Dan Ouellette
Director of photography: Harlan Bosmajian
Costume designer: Jill Newell
Editors: Susan Graef, Sabine Hoffman
Sound mixer: Noah Timan
Cast:
Wilhelmina Pang: Michelle Krusiec
Ma: Joan Chen
Vivian Liu: Lynn Chen
Wai Gung: Jim Wang
Wai Po: Guang Lan Koh
Randi: Jessica Hecht
Jay: Ato Essandoh
No MPAA rating,
Running time -- 98 minutes...
First-time filmmaker Alice Wu, who left a certain future in computer science to forge her spunky entertainment, exhibits a veteran's hand in balancing character with comedy. "Saving Face" is a frothy delight, robust with strong and conflicted characters. It often is deliriously funny, thanks to Wu's decidedly raunchy sensibility.
In this romance, Wilhelmina (Michelle Krusiec) suffers the same plague as many "perfect" daughters: She is constantly nagged by her Chinese-born mother (Joan Chen) and hounded by her grandparents, survivors of the Cultural Revolution. By most standards she is a success, a promising surgeon and personable young woman. Not surprisingly, she is regarded with concern and pity by her family elders -- at 29 she is unmarried and, indeed, seems a bit of a klutz with men. But, Wil has her standards, not falling for the rich, chauvinistic losers that she encounters at the frequent Chinese singles parties. And she carries a big secret.
With its idiosyncratic verve, it's hard to notice that "Saving Face" fits an old romantic formula, but in this case with a new spin: Girl gets girl-girl loses girl-girl gets girl. The other "girl" in this winning equation is a lithesome and talented dancer, Vivian (Lynn Chen), who wins Wil's heart.
Spinning her story through the minefields of Wil's professional colleagues, uptight relatives and reproving mother, Wu weaves a ripe and quirky entertainment. Most wonderfully, as each character emerges, we see that they are not really what they seem on the surface. In the end, we see through these "faces" to some remarkable and identifiable people. The talented cast plays a big part in the film's joyous eloquence, most eminently Krusiec as the spunky daughter/surgeon. Lynn Chen is beguiling as her dancer lover, and Joan Chen is terrifically feisty as a dragonlady with her own dark secret.
"Saving Face"'s jaunty pace reflects the talented technical team. Cinematographer Harlan Bosmajian's compositions are packed with telling traits of character, and editors Susan Graef and Sabine Hoffman enliven the proceedings with a magical grace and rhythm.
SAVING FACE
Sony Pictures Classics
Overbrook Entertainment presents
a film by Alice Wu
Credits:
Producers: Teddy Zee, James Lassiter, Will Smith
Executive producers: John Penotti, Robin O'Hara, Scott Macauley
Director-screenwriter: Alice Wu
Line producer/unit production manager: Bergen Swanson
Production designer: Dan Ouellette
Director of photography: Harlan Bosmajian
Costume designer: Jill Newell
Editors: Susan Graef, Sabine Hoffman
Sound mixer: Noah Timan
Cast:
Wilhelmina Pang: Michelle Krusiec
Ma: Joan Chen
Vivian Liu: Lynn Chen
Wai Gung: Jim Wang
Wai Po: Guang Lan Koh
Randi: Jessica Hecht
Jay: Ato Essandoh
No MPAA rating,
Running time -- 98 minutes...
- 1/27/2005
- The Hollywood Reporter - Movie News
"Lovely and Amazing" is filled with neurotic women, but filmmaker Nicole Holofcener embraces their neuroses. Indeed, they virtually define her characters. Holofcener's first film, "Walking and Talking", looked at the tensions, jealousies and joys of female intimacy. "Lovely and Amazing" adds the element of kinship to such intimacy.
To accomplish this, the writer-director takes chances with her narrative. She makes tonal shifts where serious issues darken an otherwise comedic outlook. Nor is she anxious to resolve the conflicts that beset her characters, either with one another or within their own psyches.
But older and especially female audiences should respond to a film that views life as being more than a little messy and is unwilling to embrace conventional happy endings.
The reigning character trait of a Los Angeles family of females is an obsession with weight and appearance. Brenda Blethyn plays the matriarch, who is about to undergo plastic surgery to remove tummy fat. Her eldest daughter (Catherine Keener) is an ex-beauty queen trapped in a loveless -- and nearly sexless -- marriage. She in part attributes its demise to what age has done to her former beauty.
At least her younger sister (Emily Mortimer) can obsess about her appearance for professional reasons: She is an actress with huge insecurities. She also reacts poorly to rejection. To fill the emotional void, she takes in homeless dogs.
The most original and provocative character in the movie is a third sister played by Raven Goodwin. An adopted black 8-year-old, she has developed a preoccupation with the color of her skin and the curls in her hair.
Pressures mount on all of the women when complications from Blethyn's operation force her hospitalization. The elder sisters must scramble to help each other even as their lives fall apart.
Mortimer's boyfriend dumps her, and she fails to get a major role in a movie. Keener's failure to sell any of her artistic knickknacks prompts her to take a low-paying job where her boss, a 17-year-old played by Jake Gyllenhaal, gets the hots for his new employee. And Goodwin has her hair straightened without permission.
Holofcener displays a keen eye for telling details in human behavior. Humor mixes with pathos without any pretensions. While men come off poorly for the most part, her writing is free of any bitterness.
Her cast plays these roles beautifully. Blethyn personifies the loneliness that can drive an older person to foolish actions. Keener's face provides a devastating read of her inner life: One moment it can express disappointment and resignation, then change so swiftly when she finds herself an object of male desire.
Mortimer gives a brave performance as a woman who subjects herself and her body to rigorous self-scrutiny. And Goodwin mixes girlish curiosity and confusion with a quiet determination to do things her way.
Rounding out the ensemble cast are Dermot Mulroney as a hilariously cocky movie actor and James LeGros as Mortimer's aloof boyfriend.
Cinematographer Harlan Bosmajian uses a 24-frame high-definition video camera to keep things up close and personal with these troubled souls.
LOVELY AND AMAZING
Blow Up Pictures presents a Good Machine production in association with Roadside Attractions
Producers:Anthony Bregman, Eric d'Arbeloff, Ted Hope
Screenwriter-director:Nicole Holofcener
Executive producers:Jason Kliot, Joana Vicente, Michaelk Kafka
Director of photography:Harlan Bosmajian
Production designer:Devorah Herbert
Music:Craig Richey
Costume designer:Vanessa Vogel
Editor:Rob Frazen
Color/stereo
Cast:
Michelle:Catherine Keener
Jane:Brenda Blethyn
Elizabeth:Emily Mortimer
Annie:Raven Goodwin
Jordan:Jake Gyllenhaal
Kevin:Dermot Mulroney
Paul:James LeGros
Running time -- 92 minutes
No MPAA rating...
To accomplish this, the writer-director takes chances with her narrative. She makes tonal shifts where serious issues darken an otherwise comedic outlook. Nor is she anxious to resolve the conflicts that beset her characters, either with one another or within their own psyches.
But older and especially female audiences should respond to a film that views life as being more than a little messy and is unwilling to embrace conventional happy endings.
The reigning character trait of a Los Angeles family of females is an obsession with weight and appearance. Brenda Blethyn plays the matriarch, who is about to undergo plastic surgery to remove tummy fat. Her eldest daughter (Catherine Keener) is an ex-beauty queen trapped in a loveless -- and nearly sexless -- marriage. She in part attributes its demise to what age has done to her former beauty.
At least her younger sister (Emily Mortimer) can obsess about her appearance for professional reasons: She is an actress with huge insecurities. She also reacts poorly to rejection. To fill the emotional void, she takes in homeless dogs.
The most original and provocative character in the movie is a third sister played by Raven Goodwin. An adopted black 8-year-old, she has developed a preoccupation with the color of her skin and the curls in her hair.
Pressures mount on all of the women when complications from Blethyn's operation force her hospitalization. The elder sisters must scramble to help each other even as their lives fall apart.
Mortimer's boyfriend dumps her, and she fails to get a major role in a movie. Keener's failure to sell any of her artistic knickknacks prompts her to take a low-paying job where her boss, a 17-year-old played by Jake Gyllenhaal, gets the hots for his new employee. And Goodwin has her hair straightened without permission.
Holofcener displays a keen eye for telling details in human behavior. Humor mixes with pathos without any pretensions. While men come off poorly for the most part, her writing is free of any bitterness.
Her cast plays these roles beautifully. Blethyn personifies the loneliness that can drive an older person to foolish actions. Keener's face provides a devastating read of her inner life: One moment it can express disappointment and resignation, then change so swiftly when she finds herself an object of male desire.
Mortimer gives a brave performance as a woman who subjects herself and her body to rigorous self-scrutiny. And Goodwin mixes girlish curiosity and confusion with a quiet determination to do things her way.
Rounding out the ensemble cast are Dermot Mulroney as a hilariously cocky movie actor and James LeGros as Mortimer's aloof boyfriend.
Cinematographer Harlan Bosmajian uses a 24-frame high-definition video camera to keep things up close and personal with these troubled souls.
LOVELY AND AMAZING
Blow Up Pictures presents a Good Machine production in association with Roadside Attractions
Producers:Anthony Bregman, Eric d'Arbeloff, Ted Hope
Screenwriter-director:Nicole Holofcener
Executive producers:Jason Kliot, Joana Vicente, Michaelk Kafka
Director of photography:Harlan Bosmajian
Production designer:Devorah Herbert
Music:Craig Richey
Costume designer:Vanessa Vogel
Editor:Rob Frazen
Color/stereo
Cast:
Michelle:Catherine Keener
Jane:Brenda Blethyn
Elizabeth:Emily Mortimer
Annie:Raven Goodwin
Jordan:Jake Gyllenhaal
Kevin:Dermot Mulroney
Paul:James LeGros
Running time -- 92 minutes
No MPAA rating...
"Lovely and Amazing" is filled with neurotic women, but filmmaker Nicole Holofcener embraces their neuroses. Indeed, they virtually define her characters. Holofcener's first film, "Walking and Talking", looked at the tensions, jealousies and joys of female intimacy. "Lovely and Amazing" adds the element of kinship to such intimacy.
To accomplish this, the writer-director takes chances with her narrative. She makes tonal shifts where serious issues darken an otherwise comedic outlook. Nor is she anxious to resolve the conflicts that beset her characters, either with one another or within their own psyches.
But older and especially female audiences should respond to a film that views life as being more than a little messy and is unwilling to embrace conventional happy endings.
The reigning character trait of a Los Angeles family of females is an obsession with weight and appearance. Brenda Blethyn plays the matriarch, who is about to undergo plastic surgery to remove tummy fat. Her eldest daughter (Catherine Keener) is an ex-beauty queen trapped in a loveless -- and nearly sexless -- marriage. She in part attributes its demise to what age has done to her former beauty.
At least her younger sister (Emily Mortimer) can obsess about her appearance for professional reasons: She is an actress with huge insecurities. She also reacts poorly to rejection. To fill the emotional void, she takes in homeless dogs.
The most original and provocative character in the movie is a third sister played by Raven Goodwin. An adopted black 8-year-old, she has developed a preoccupation with the color of her skin and the curls in her hair.
Pressures mount on all of the women when complications from Blethyn's operation force her hospitalization. The elder sisters must scramble to help each other even as their lives fall apart.
Mortimer's boyfriend dumps her, and she fails to get a major role in a movie. Keener's failure to sell any of her artistic knickknacks prompts her to take a low-paying job where her boss, a 17-year-old played by Jake Gyllenhaal, gets the hots for his new employee. And Goodwin has her hair straightened without permission.
Holofcener displays a keen eye for telling details in human behavior. Humor mixes with pathos without any pretensions. While men come off poorly for the most part, her writing is free of any bitterness.
Her cast plays these roles beautifully. Blethyn personifies the loneliness that can drive an older person to foolish actions. Keener's face provides a devastating read of her inner life: One moment it can express disappointment and resignation, then change so swiftly when she finds herself an object of male desire.
Mortimer gives a brave performance as a woman who subjects herself and her body to rigorous self-scrutiny. And Goodwin mixes girlish curiosity and confusion with a quiet determination to do things her way.
Rounding out the ensemble cast are Dermot Mulroney as a hilariously cocky movie actor and James LeGros as Mortimer's aloof boyfriend.
Cinematographer Harlan Bosmajian uses a 24-frame high-definition video camera to keep things up close and personal with these troubled souls.
LOVELY AND AMAZING
Blow Up Pictures presents a Good Machine production in association with Roadside Attractions
Producers:Anthony Bregman, Eric d'Arbeloff, Ted Hope
Screenwriter-director:Nicole Holofcener
Executive producers:Jason Kliot, Joana Vicente, Michaelk Kafka
Director of photography:Harlan Bosmajian
Production designer:Devorah Herbert
Music:Craig Richey
Costume designer:Vanessa Vogel
Editor:Rob Frazen
Color/stereo
Cast:
Michelle:Catherine Keener
Jane:Brenda Blethyn
Elizabeth:Emily Mortimer
Annie:Raven Goodwin
Jordan:Jake Gyllenhaal
Kevin:Dermot Mulroney
Paul:James LeGros
Running time -- 92 minutes
No MPAA rating...
To accomplish this, the writer-director takes chances with her narrative. She makes tonal shifts where serious issues darken an otherwise comedic outlook. Nor is she anxious to resolve the conflicts that beset her characters, either with one another or within their own psyches.
But older and especially female audiences should respond to a film that views life as being more than a little messy and is unwilling to embrace conventional happy endings.
The reigning character trait of a Los Angeles family of females is an obsession with weight and appearance. Brenda Blethyn plays the matriarch, who is about to undergo plastic surgery to remove tummy fat. Her eldest daughter (Catherine Keener) is an ex-beauty queen trapped in a loveless -- and nearly sexless -- marriage. She in part attributes its demise to what age has done to her former beauty.
At least her younger sister (Emily Mortimer) can obsess about her appearance for professional reasons: She is an actress with huge insecurities. She also reacts poorly to rejection. To fill the emotional void, she takes in homeless dogs.
The most original and provocative character in the movie is a third sister played by Raven Goodwin. An adopted black 8-year-old, she has developed a preoccupation with the color of her skin and the curls in her hair.
Pressures mount on all of the women when complications from Blethyn's operation force her hospitalization. The elder sisters must scramble to help each other even as their lives fall apart.
Mortimer's boyfriend dumps her, and she fails to get a major role in a movie. Keener's failure to sell any of her artistic knickknacks prompts her to take a low-paying job where her boss, a 17-year-old played by Jake Gyllenhaal, gets the hots for his new employee. And Goodwin has her hair straightened without permission.
Holofcener displays a keen eye for telling details in human behavior. Humor mixes with pathos without any pretensions. While men come off poorly for the most part, her writing is free of any bitterness.
Her cast plays these roles beautifully. Blethyn personifies the loneliness that can drive an older person to foolish actions. Keener's face provides a devastating read of her inner life: One moment it can express disappointment and resignation, then change so swiftly when she finds herself an object of male desire.
Mortimer gives a brave performance as a woman who subjects herself and her body to rigorous self-scrutiny. And Goodwin mixes girlish curiosity and confusion with a quiet determination to do things her way.
Rounding out the ensemble cast are Dermot Mulroney as a hilariously cocky movie actor and James LeGros as Mortimer's aloof boyfriend.
Cinematographer Harlan Bosmajian uses a 24-frame high-definition video camera to keep things up close and personal with these troubled souls.
LOVELY AND AMAZING
Blow Up Pictures presents a Good Machine production in association with Roadside Attractions
Producers:Anthony Bregman, Eric d'Arbeloff, Ted Hope
Screenwriter-director:Nicole Holofcener
Executive producers:Jason Kliot, Joana Vicente, Michaelk Kafka
Director of photography:Harlan Bosmajian
Production designer:Devorah Herbert
Music:Craig Richey
Costume designer:Vanessa Vogel
Editor:Rob Frazen
Color/stereo
Cast:
Michelle:Catherine Keener
Jane:Brenda Blethyn
Elizabeth:Emily Mortimer
Annie:Raven Goodwin
Jordan:Jake Gyllenhaal
Kevin:Dermot Mulroney
Paul:James LeGros
Running time -- 92 minutes
No MPAA rating...
- 9/17/2001
- The Hollywood Reporter - Movie News
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