And So It Goes (2014) User Reviews

And so it goes surprisingly well, though the final film is hardly what you'd call a classic.

[shawneofthedead · 6/10 · 30 July 2014]

It's easy to assume the worst of And So It Goes. It looks like every other generic "comedy" that's been hastily slapped together to appeal to a more mature audience - the kind of film in which, these days, respected veterans of the silver screen appear in order to finance their retirement. Heck, this isn't even the first time Michael Douglas and Diane Keaton have popped up in such "comedies": the former played an aging Lothario in Last Vegas, while Keaton kicked off the whole sub-genre in Something's Gotta Give, and most recently appeared in The Big Wedding. The good news is that And So It Goes somehow manages to work anyway. It's predictable and occasionally not funny at all, but when it settles into its groove, the weight of age and experience of the two lead characters contributes quite a bit to their inevitable romance.

Oren Little (Douglas) is a cynical, cantankerous old man who's never recovered from the death of his beloved wife many years ago. As a result, he's pushed almost everyone away, including his estranged, ex-junkie son Luke (Scott Shepherd). While trying to sell off his family home so he can retire in Canada, Oren moves into a lakeside apartment complex he owns. There, he meets Leah (Keaton), an aspiring lounge singer who can never get all the way through a song without bursting into tears at the thought of her own deceased husband. On his way to a stint in jail, Luke begs Oren to take care of his daughter Sarah (Sterling Jerins) - a task which Oren promptly palms off to Leah.

The plot, as you might imagine, marches on predictably from here: Oren and Leah, forced to spend more time together, begin to soften towards each other. He realises she's smart, spunky and a great cook; she sees that he's not just a grumpy, irascible ball of hatred. It's sometimes hard to take too seriously the way in which And So It Goes pulls off its so-called 'character development': can a casual bigot like Oren, who tosses off rather offensive remarks with little care for what others might think, really be trusted around other human beings? Much less deliver a baby, as he's called upon to do in one of the film's more surreal moments?

And yet, the film manages to find its own emotional groove anyway. The connection between Oren and Leah, both of whom have lost the first loves of their lives, is deep in a way other meet-cute romances aren't. You suspect that the reason they fall for each other is as much due to mutual attraction as to the fact that the other person loves so deeply and so truly.

Both actors lend the considerable weight of their experiences and personalities to their roles: Douglas gives Oren a great deal of charm, and makes his friendship with his old biddy of an assistant Claire (Frances Sternhagen) shine through the insults they casually trade. Keaton does what Keaton has always done, and does it very well. She glides through the film, as kooky as the day we first sat up and took notice of her in Annie Hall, and easily sings her tremulous way into Oren's heart - and the hearts of her audiences.

Not by any stretch of the imagination a great film, And So It Goes is nevertheless a mostly enjoyable watch. It won't be a highlight on the CVs of anyone involved: not for director Rob Reiner (who has a supporting role as Leah's hapless accompanist), and certainly not for Douglas and Keaton. But it won't be an abject embarrassment either. You might be hoping for a little more from cast and script and premise, but this is nevertheless a film that - for all its awkward fumbles - deals with the profound ideas of love, loss and second chances in a surprisingly effective way.

Sweet & Uncomplicated!

[namashi_1 · 7/10 · 15 February 2015]

'And So It Goes' is an unfussy, light-hearted romantic-comedy, that entertains you till it lasts. Its sweet & uncomplicated!

'And So It Goes' Synopsis: A self-absorbed Realtor enlists the help of his neighbor when he's suddenly left in charge of the granddaughter he never knew existed until his estranged son drops her off at his home.

'And So It Goes' is a decent film, about family & love. Mark Andrus's Screenplay is well-worded & fast, wasting no time in the narrative for its loopholes to ever show up grandly. Rob Reiner's Direction is pretty good. Reiner is back in form, after a hiatus.

Performance-Wise: 'And So It Goes' would've failed, had its leading performers faltered, but that doesn't happen here. Michael Douglas is superb as the self-absorbed Realtor, while Diane Keaton is extra-ordinary as the women in grief. The Legends perform above expectations, once again! Sterling Jerins is adorable.

On the whole, 'And So It Goes' works just fine. 91-Minutes will swing by well!

A Gentle Comedy that Does Not Disappoint

[janetmenzieshannon · 7/10 · 3 April 2015]

And So It Goes is a gentle comedy about the fragility of being human. Rob Reiner, its director, suggests that in the eternal presence of youth, it is possible to continue to grow young and transform one's life. Although its main characters, Leah, a widow who sings torch songs in supper clubs but can't get through one without crying (Diane Keaton) and Oren, a widower and veteran Realtor who is just counting the days until retirement (Michael Douglas), are at odds with each other. In the course of events we find opposites attract and are vital to one another's growth. Both are still actively grieving their deceased spouses in very different ways. Oren slips away to the graveyard to talk to his wife, while showing the world a nasty, hardened face. His dream of retirement hinges upon the final sale of the $8.6 million mansion where he lived with her once upon a time. Should the sale go through, he intends to head for the serenity of a solitary life tucked away in Vermont. In the mean time, he must weather the storm of living among others in the cramped quarters of a multiple family dwelling he owns and sardonically nicknames "Shangri-La." Although both Leah and Oren are in fragile shape, they unify when Oren's ten year-old grand daughter is dumped on his doorstep by his son, a man estranged from his father for double digits who is going away to prison. Oren attempts to get rid of the child, but Leah steps in, revealing her material instincts in full bloom. Her "perfect love" with her deceased husband did not enable her to become a mother and this is her opportunity. The vulnerability of Oren's young grand daughter, who his keenly aware that she has been dumped in the hands of an aging, unhappy man who does not want her, is beautifully and delicately rendered.

In their struggle to deal with the child, Oren is humbled by Leah's superb ability to cope and begins to grow fond of both Leah and his grand daughter. In spite of his crude behavior toward his neighbors/tenants in the past, love enters the humble community at "Shangri-La" in the form of the arrival of a ten year old, the adoption of a stray dog, the sudden birth of a baby and the transformation of caterpillar into...a butterfly. This happiness is a metaphor for the potential happiness hidden in even the most banal settings and social situations. Only when events conspire to reveal the more elevated nature in people can both young and old face what the future has in store for them--something that is always a question mark.

And So It Goes is a far more realistic and beautiful love story than the blockbuster hit that Diane Keaton made with Jack Nicholson, As Good As It Gets, over a decade ago. It is not a movie about "beautiful people" living in spotless white houses in the Hamptons or middle aged divorcées who manage snag aging, jaded producers so rich they date twenty year-old girls. That film was a complete fantasy on every level. (Without Keanu Reeves for visual relief it would have been hard to take some of the love scenes.) And So It Goes is a far gentler, far less glamorous film about love "among the ruins" than As Good As It Gets. Its verisimilitude may make less mature audiences uncomfortable for that reason. Ultimately, Keaton and Douglas pull off their roles like the pros that they are. It's a pleasure to see them get to know one another gradually, albeit clumsily and foolishly, in a way that is true to life. I highly recommend And So It Goes for anyone brave enough to watch fragile people still attempting to transform their lives and move forward in the face of the unknown.

Along comes Michael Douglas

[harry_tk_yung · 8 January 2015]

In 1997 John Nicholson perfected the role of the pain-in-the-neck aging man in "As good as it gets", character study, comedy and romance all rolled into one. Then in 2003, with obnoxiousness replaced by flamboyance, he beefed up the romance side in "Something's got to give" playing opposite inimitable Diane Keaton. And here we are, in "And so it goes", with our very own Keaton again radiating her absolutely undiminished charm, and Michael Douglas stepping into the formidable shoes that he fills admirably. Nicholson can now go comfortably into retirement. This is not to say that Douglas becomes another Nicholson. What he offers is an alternative version. His brand of obnoxiousness is matter-of-course rather than zealous, and he has warmth that Nicholson does not have.

The story revolves around our protagonist. Although the romance plays a big part, there are other dimensions to recent widower Oren Little's life. Embittered by the experience of 2 years of watching helplessly his wife dying of cancer, Oren has, so he claims, all his compassion drained. The effect is clearly felt by an assortment of human beings (and more, there is a dog) around him: neighbors who are also (unfortunately for them) his tenants, colleagues in the real estate office where he excelled as a sales agent in the last 40 years, prospective buyers of his luxury home and, last but not least, his son, that sets off the plot.

When Oren's estranged son, written off as a junkie beyond salvation, shows up with a 10-year old daughter who will become homeless as he goes to serve a jail term of 6 months, Oren is not exactly pleased. Widowed (for a bit longer than Oren) neighbor Leah, a part time lounge singer with a penchant for crying ("for Cry me a river, it doesn't have to be the whole river" Oren once offered his advice), gallantly rises to the occasion, taking in little Sarah until Oren "figures out something". I won't go into the developments which follows a somewhat predictable trajectory.

One thing that does deserve a little (no pun intended) elaboration is the idea of "balancing". For the two windowed people (for 2 years and 4 years respectively) falling in love, it is quite a challenge to strike a balance between the sorrow from losing a beloved spouse and joy from the new-found consolation (which, in this movie, is not only spiritual but also physical – "we are animals that have physical needs" quipped Oren at one point). Credibility is already quite a challenge, let alone sympathy and empathy. Keaton and Douglas pulled this off in a way lesser talent could not have.

Special credit should go also to 10-year-old Sterling Jerkins, the balance there being between a wild-eyed innocent child and a deprived soul raised in a single-parent, junkie-neighborhood environment. Some of the smaller roles, like her father (Oren's delinquent son), are not mere stereotypes. It turns out later that his jail term is in fact the result of a noble self-sacrificing act. The vast support cast, even those in one-dimensional roles, delivers.

For a special bonus, don't be late. The opening credits come with background of endearing "Both sides now", which is a brilliant choice so aptly setting the mood of the entire movie.

There he/she goes

[kosmasp · 7/10 · 17 July 2015]

The story itself is pretty simple. The characters are kind of simple too (at least the one played by Michael Douglas). But the way they play (off each other), is phenomenal. There is something to the actors, which we know they are able to charm us and that they have the ability to take things to another level. And that is what they are doing here, elevating the movie itself.

There have been a couple of movies, where the main character is unlikeable at first. And this "method" makes sense, but only if a really strong actor is playing that role. Some things might go a bit too smooth, but overall you know where this is going. It's a nice movie, with overall good acting and superb acting by our two leads.

Something's Gotta Give As Good As It Gets............

[MovieHoliks · 6/10 · 7 April 2015]

You can't watch this film and not think of one of the two films I referred to- 2003's "Something's Gotta Give" and of course the Oscar- winning 1997 "As Good As It Gets". Overall, I'll give "And So It Goes" a modest recommendation if you liked those two films, but this movie has got it's problems. One of those problems I think honestly is the length- at only 90 minutes (your standard running time to maximize the movie multiplexes' number of showtimes), you just don't have the time to fully develop the story and characters; unlike "As Good As It Gets" for instance- a 2 & 1/2 hour movie. Oscar winners Diane Keaton & Michael Douglas I think work well together, and have on-screen chemistry. They just needed a more fully-developed screenplay.

And Rob Reiner (who also has a supporting role in the film)- wow; this guy used to be one of the top Hollywood filmmakers of the '80s and early '90s- with films like "Princess Bride", "Stand By Me", "When Harry Met Sally", "Misery", "A Few Good Men", etc... He had a modest comeback with the 2000's film "Bucket List", but other than that, the guy can't seem to catch a break about the past 20 years- ever since that infamous bomb "North" I'd say?? Well, anyhoo, if you're looking for something to watch, and the aforementioned films are not readily available (or you've seen them enough already), you may wanna give this a try- And so it goes...

Passable...

[anushkalovell · 4/10 · 21 December 2014]

While it's a touching story, Diane Keaton tends to play the same sort of Character.

I have seen ALL her movies but now it is become a little tiresome.

What is with those high-waisted skirts and belts...???

I know these movies are some years apart but always the same character as "I told you so" OR "something's gotta give"

I liked her role in Family Stone or First Wives Club but sometimes she seems a little over the edge....or may be she is in Character.

Michael Douglas who is usually the more devious character and arrogant, does show a softer side.

On the whole, not a bad movie.....

For those of you who are die hard Diane Keaton fans, you'll enjoy this.

I may be a little critical but I must admit, these types of movies do help to try and make the world a better place, just by the story itself.

And So It Goes was a pretty entertaining dramady starring Michael Douglas and Diane Keaton

[tavm · 7/10 · 19 March 2015]

Just watched this with my mom on a Netflix disc. We both enjoyed this mostly leisurely humorous look at a couple of older leads-Michael Douglas and Diane Keaton-coping with the loss of their spouses while also dealing with one selling his former home as a realtor (Douglas), one trying to not get too depressed while performing songs on stage (Keaton), and both dealing with a young girl-Douglas' son's offspring whose father is about to go to jail for a crime he didn't commit-staying in the grassy retreat neighborhood they live next door in. I'll just now say this was quite humorous and touching if not hilarious or too dramatic. Director Rob Reiner gives a nice measured pace throughout and appears himself as Keaton's pianist accompanist with an obvious bad hair job! I also liked Frances Sternhagen as Michael's fellow real estate work mate, and that girl played by Sterling Jerins. So on that note, And So It Goes is worth a look.

Watchable. Sometimes Funny

[bob-rutzel-1 · 4/10 · 4 January 2015]

Real Estate Agent Oren Little (Michael Douglas) has a hard time getting over the death of his wife and is mean and crotchety to all who invade his path. When his son drops off daughter Sara (Sterling Jerins) while he goes to prison, Oren is beside himself. Neighbor Leah (Diane Keaton), a wanna-be lounge singer, tries her best to help.

This is watchable and funny at times with Oren's blunt honesty to all. Now you know Oren will change his ways, in time, but until then he is a trip and you never know what he will say next to offend someone. Sometimes it's funny, sometimes not.

The chemistry between Oren and Leah is okay, but sometimes the dialogues were cut short and should have been longer.

The ending was rushed and we really don't see complete resolutions. What we do see are loose ends. Does Oren change his mind and not go to retire in Vermont? We do see him turn around, but does he stay? Do Oren and Leah get married? Does it matter?

There are some scenes that didn't really need to be in here: a young boy exposes himself while changing clothes near a plastic wading pool, a woman shouts to Oren, "Blow me." And a big dog pooping a couple of times, and that same big dog humping a large stuffed bear. See? Quite unnecessary and not funny.

Watchable, funny at times but instantly forgettable. (4/10)

Violence: No Sex: No. Nudity: No. Sexual language:: Yes. Language: Brief soft stuff only.

Baby Boomers in Retirement

[gbkmmaurstad · 7/10 · 2 July 2018]

Oren Little (Michael Douglas) is one of four tenants at the Shangrila located along the water of a beach town. Oren has turned into a grumpy old man since his wife died. Leah the widow next (Diane Keaton) door and can't seem to stop crying about her husband during her cabaret performances. Oren is in the process of selling the family home when his estranged son Luke (Scott Shepard) shows up with daughter Sarah.

From here it gets predictable, but I liked Douglas and Keaton together. Music reminded me of the Big Chill. Was surprised Keaton could sing and that Rob Reiner was not only in the film as Arte, Leah's manager, but also co-produced the film. Great movie for at home dinner and a move with gal-pals

Major Disappointment

[lotekguy-1 · 3/10 · 29 July 2014]

Kurt Vonnegut introduced the last three words of this title into our culture in his classic satiric novel Slaughterhouse Five; newswoman Linda Ellerbee's version with the "and" made it even more famous as her sign-off for insightful news and commentary segments. Both would grieve over its deployment in this tired attempt at a sentimental romantic comedy. Or maybe the producers used it ironically, admitting how this was merely the inevitable application of old convention (bitter old dude rediscovers life and joy from new connections with others), directed by what's left of Rob Reiner, and starring the remnants of Michael Douglas and Diane Keaton. She'd already steered a better course through these murky waters opposite Jack Nicholson in Something's Gotta Give.

Douglas' character is a surly widower who is rich enough to be a curmudgeon, rather than just a regular jerk. His estranged son, while on his way to prison, suddenly sticks the old grouch with the care of a 10-year-old granddaughter he'd never even known existed. Kindly neighbor Keaton - a widow who sings oldies in a local lounge until her own grief causes show-stopping crying jags - provides the path to Douglas' re-humanization. That's not a spoiler. Everyone knows where this plot absolutely positively must come to rest before the thing even starts. It's the Law of the Land in Tinseltown.

The sets are lovely. The comedy content is slim. Douglas' path from loutish to loving grows tiresome. As a cinematic crooner, Keaton delivers a tossup with Kiera Knightley's recent gig in Begin Again. Or by another measure, the film's eminent music director Marc Shaiman (five Oscars and a slew of other awards) has written or collaborated on dozens of acclaimed movie scores and memorable songs... none of which he has Keaton perform. The net result is a paint-by-numbers production of the second time around for its geriatric principals that will satisfy relatively few of their fans.

An appreciation of a movie for seasoned adults

[jfritzpat · 8/10 · 29 July 2014]

I have enjoyed Keaton and Douglas for years - I'm not that far behind them in the birthdays I've celebrated. And this movie is no exception. My wife and I found wonderful texture in the use of minor plot points to enhance the larger story. For instance - the stray dog which at first is disliked and then accepted...the metaphor of caterpillar and butterfly. It was all very nicely done in a story that evolved at a leisurely pace and with the layers one would expect in a life. As person expecting to see fewer years than I have already seen I appreciate films that reflect some of what I have experienced - and some of which I wish I had experienced. Movies such as these remind us, also, of the value of looking ahead to what life can hold no matter the number of years that have crinkled your brows.

VIEWS ON FILM review of And So It Goes

[burlesonjesse5 · 6/10 · 14 December 2014]

Director Rob Reiner and his star of 1995's The American President (that would be Mr. Michael Douglas), reunite again for the half-baked, hackneyed comedy/drama And So It Goes. Released this past summer and rightfully swallowed up by a host of big-budgeted blockbusters, Reiner films "Goes" as if he's remaking As Good as It Gets almost twenty years later and Something's Gotta Give more than ten (And So It Goes is like a watered down combo of the movies just mentioned but with characters in it that aren't quite as affluent). The result: ninety-four loose minutes that gives the audience a few pertinent revelations but ultimately gets a mixed review from me.

Written by Mark Andrus (Life as a House, Georgia Rule, As Good As It Gets), filmed mostly in Connecticut, and featuring a Michael Douglas dirtbag who actually pursues a woman in his own age group, And So It Goes paints itself as a comedy (that's the vibe I got from the trailer I saw) but on the surface, has some really bleak moments as well. The proceedings focus on one Oren Little (Douglas). He's a cranky old-timer who sells houses and dishes out insults to almost everyone he meets. He's has minimal racist tendencies, he's a bigot, he doesn't like kids or animals, and he wants to retire by getting someone to purchase his home listed at 8.5 million dollars (only he thinks that that's the appraised value). He'll then move to Vermont so he can be moody, angry, and alone all over again. There's also other plot points going on. He has a granddaughter he never knew and now he must watch over her while his only son (a former heroin addict) goes to jail and his granddaughter's biological mom (a current heroin addict) continues to wade in a downward spiral. Thankfully, he aids his next door neighbor (Leah, a struggling lounge singer played by Diane Keaton) to help watch over said granddaughter. As things continue to move along, Oren develops a connection with Leah (one is a widow and the other is a widower) and sparks I guess, fly. That's the gist of And So It Goes and its breeziness might help you forget about how familiar and vacant it is.

Now I don't fault the performances in And So It Goes because it feels like the actors are doing what they can. I do fault the script which seems overly inconsistent. Considering that the same dude who penned As Good as It Gets wrote this screenplay, well I figured it might be just as sharp. Negatory. Andrus gives the Douglas character plenty of berated one-liners only to not have them fit the tone of the scene or the circumstance. One minute Oren is doing nice things for people and trying to come off as having a good heart. The next minute, he's telling people off just to you know, tell people off. It feels as if Mr. Little is spewing insults just for the heck of it. I mean, it's like he's reading them from cue cards or having someone whisper them in his ear right before the cameras start to roll. When he tells a co-worker at his real estate firm, "and you'll get hit by a bus if the driver does what he's paid to do", it just feels like filler. When Jack Nicholson told off his co-stars in his 1997 Oscar nominated flick, it actually felt genuine and earned. Here not so much. Again, I don't fault Douglas. I fault Andrus for not connecting the dots this time around. Then, there's the supposedly sufficient romance that brews between Little and Diane Keaton's Leah (oh come on, you knew the movie would force them to get together). With a length of just over an hour and a half, there's not enough time to really believe that these two could actually fall in love. And you know, it doesn't help that Douglas has a track record of getting with a younger woman in pretty much all of his movies. The fact that his character froths at the mouth at trying to sleep with the 68 year old Keaton, seems totally not believable.

In retrospect, with its Hallmark setting and familiar romcom clichés (this is yet another romantic comedy where the male lead happens to befriend a straying dog), And So It Goes feels like a second tier version of the type of concoction the late Nora Ephron would have made in the mid 90's. However, with a few genuine, Taster Choice moments between the cast members, there's no reason why this box office flop wouldn't suffice as a mildly entertaining, weekday rental. Its director Rob Reiner, has a legendary resume consisting of superb work (Misery, Stand By Me, When Harry Met Sally, This Is Spinal Tap) intertwined with some God-awful stuff (North, The Story of Us, The Bucket List). His latest falls somewhere in between causing him to stand on neutral ground. Bottom line: And So It Goes "goes" into the $4.99 Best Buy bin probably 2-3 years from now. That's my prediction. You can take it any way you want it.

Of note: If you choose to check out And So It Goes, look for two cameos. One of them is Frankie Valli playing a restaurant owner and it's pretty good. The other is by actual director Rob Reiner and he plays a musician dating Diane Keaton's Leah. Sadly, Reiner's bit is one of the worst 3-5 minutes of screen time that I've ever seen. It's completely irrelevant and woefully underdeveloped. Also, for the sake of all that is holy, he really needed to lose that wretched, combed over toupee. Ugh.

comedy without comedy

[SnoopyStyle · 5/10 · 25 May 2015]

Oren Little (Michael Douglas) is a bitter selfish real estate agent after the death of his wife. He's trying to sell the family home. Leah (Diane Keaton) is his happy neighbor at Little Shangri-La. None of his neighbors like him but he owns the townhouse complex. Leah also had lost her spouse and has uncontrolled weeping. Then Oren's estranged son shows up after getting clean from drug abuse. He is forced to leave behind his daughter Sarah, who was unknown to Oren previously, after the court system screwed him over.

Michael Douglas is grumpy and Diane Keaton is quirky cute. Neither is funny in here. Rob Reiner is embarrassing himself. It's his own fault since he's the director. The kid is cute but it's too obvious. She doesn't have the big personality needed to compete against these two cinematic legends. The story moves too slowly. The two stars are struggling to find the comedy.

Boring Start, but Humorous Movie Overall

[rgkarim · 7/10 · 27 July 2014]

With the transition from one city to another, I haven't had much time to look at all the movies coming out this week. So in my brief spare time I decided to deviate from my normal action regime and instead head into something a little more realistic. My movie this weekend is one starring legends Michael Douglas and Diane Keaton, who are thrown together in a dramatic romantic comedy. So let's get cracking on my review of And So It Goes.

The premise for this movie is very simple; a self-involved real estate agent named Oren (Douglas) is forced to reexamine his life when he meets his granddaughter (Sterling Jerins). Unsure of what to do in his new role, Oren turns to his neighbor Leah (Keaton) for assistance and a little bit of self-discovery. It's the same plot we've seen many times, only this time it is not presented by Hallmark Channel in one of their weekly Saturday night premiers. And So It Goes' story is a predictable plot, with an ending once can see coming within the first twenty minutes of the tale. Unfortunately the predictability is not offset with a decent pace, as the opening scenes are slow repeats of what we saw in the trailer. Sure there were a few good chuckles along the way, but my interest and enjoyment didn't start until the granddaughter arrives. From there the tale is cute, with Oren beginning to self examine his life, as those around him become a makeshift family. Some of the scenes could have had much more effect had they introduced it later in the film, while others were rather pointless or ambiguous. Character development occurred somewhat in this tale, though the backstories of the characters were rushed, only mentioned in a brief scream of outrage or crying fit, before resolving in minutes. Such deep flaws and emotional scars are not addressed in a matter of days, but take serious therapy and time to address. Yet in this movie, these problems were blown over in a matter of minutes, with some breakthrough occurring at just the right time.

Acting wise the team is solid. Despite the lackluster story, Douglas breathes life into the movie in the way he presents the dialogue. First of all, his character is believable, despite the enormous ego that he presents. Douglas has a way of playing the arrogant jerk, who starts out like Scrooge, so stingy with his emotions only to have a heart change in the final act. His anger comes out in a reasonable manner and his mistakes with the relationship are real and not some out of control mistake where the character is acting overly stupid. When he tries to make up for his mistakes, they come out awkward, the uncertainty of their success only offset by the inevitable happy ending that lies at hand. Yet it's his comedic presentation that is my favorite quality, his twists and emphasis on certain words providing the kick you need to get a good laugh. Keaton offsets the jerk comedy though with her usual down to earth self, though this time with more tears. Her character is a bit over emotional, crying at the slightest whim, which limits her dialog. However, she still plays that motherly role she has perfected, and one that still gives me goose bumps at her sincerity. Keaton's got a few good lines here and there, but she is more of the supporting role for all the other characters. Jerins does a nice job playing an innocent ten-year-old girl, though this shouldn't be too surprising since she is about that age. Her character is also a mere tool to drive the character development, but at least wasn't a whiny brat as many young actors are these days.

Overall the acting is fine, but the humor is the best part of this movie. Unlike most comedies, this film relies on dry humor and wits. The dialogue is simple, with sarcastic responses and simple insults that you have heard from your friends and family. While there is a lack of lines that would become the newest t-shirt logo, the realistic responses and timing much better than a thousand taglines. The fact that these jabs were diverse and spanned out also helped make things more enjoyable and less stale. Again Douglas' character gets the best lines, and has the best timing, but overall the dialog is fun and balanced. As for other humor, there are a few other things that will get a chuckle. The facial expressions of a few of the characters are over dramatized, but get a few laughs when placed in the awkward situations. Those looking for slapstick humor though should avoid this, because the clumsy antics and stupid stunts are nowhere in sight in this film.

And So It Goes is a very simple movie, filled with moments that are meant to teach a lesson and pull at the heartstrings. The audience who will enjoy the movie the most are the grandparents who deal with the issues at hand, but this is a movie that many adults can see and enjoy. I don't recommend bringing younger audience members, since there is a lack of flair that most of the current generation will appreciate. Overall this movie isn't really one worth a trip to the theater, but would make for a nice movie night in when given the chance. My scores for And So It Goes are:

Comedy/Drama/ Romance: 7.0 Movie Overall: 6.0

It could go better.

[JohnDeSando · 24 July 2014]

"In every heart there is a room/A sanctuary safe and strong/To heal the wounds from lovers past/Until a new one comes along." Billy Joel

Respectfully depicting romance with sixty something's is as challenging as getting someone other than Jack Nicholson to play the male lead. Director Rob Reiner in An So It Goes has achieved the near impossible by having Michael Douglas do better than Jack by underplaying a crusty but ultimately dear real estate agent, Oren Little, a widower selling his own 8 million dollar home somewhere in Fairfield, Connecticut.

With Diane Keaton for the love interest singing in a lounge (Frankie Valli plays the owner!) a sweet range of Rodgers & Hart, Irving Berlin, and Jimmy van Huesen tunes, Reiner has two Oscar-winning performers who mostly underplay the attraction that takes them out of the clichéd situation of "hate then love" into a more reasonable slow growth to affection. Writer Mark Andrus, who knows of these matters from writing As Good as It Gets, in which Jack gets his reality check also from Keaton, offers subplots without the usual screaming and insults. However, make no mistake, the plot is as predictable as it gets.

Oren inherits his hitherto unknown granddaughter, Sarah (Sterling Jerins), from a prison-bound ex-junkie son, Luke (Scott Shepherd). Neighbor Leah (Keaton), finding in Sarah the granddaughter she never had, sometimes seems to question that she could have feelings for such a meathead as Oren. When Oren accurately reflects me at my most clueless, I temper my criticism of clichés.

Because Douglas himself has had major challenges with his son, Cameron--a drug addict still doing time--authenticity pours out of Douglas, who gives a believable performance as the conflicted father/grandfather. In real life Douglas called himself a "bad father," so I award him points for honesty then and courage for his depiction now.

Although I would have preferred more depth in Oren's relationship with Luke, Andrus and Reiner go enough into Oren's growing love for Sarah and his appreciation for Leah. With no new story creativity, the seasoned actors make the plot combinations reasonable. Even the minor characters defy their stereotypes, headed by Frances Sternhagen as Oren's real-estate partner with a penchant for cigarettes and sardonic repartee with Oren. Hints of the screwball comedy! She's that good.

Reiner should be applauded for toning down the bad jokes usually accompanying Social-Security-eligible lovers. However, I don't believe Douglas would forsake Catherine Zeta-Jones for Keaton. That's the reality we know. And so it goes.

Cheesy as hell, but has its moments

[percyporcelain · 6/10 · 10 April 2021]

Hey it's a Rob Reiner movie, what could possibly go wrong? Not too much, but he's coasting here, and even indulging himself with a minor role. It's not terrible but it is derivative, with Keaton doing her adorable kooky self and Douglas his mean mother routine, concealing a heart of gold. Echoes of Bill Murray in St Vincent with his child-phobia or Nicholson in As Good As it Gets with his misogyny, they inevitably get together and it all ends in a pretty saccharine love-in. Lots of ethnic minority casting and an adorable kid, you'll either surrender to its charms or reach for the sick bag.

La-De-Blah, La-De-Blah

[ferguson-6 · 3/10 · 26 July 2014]

Greetings again from the darkness. It's very painful to witness the aftermath of an artist who has surrendered. Rob Reiner seems to be the director's version of actor Nicolas Cage. Just keep churning out projects that require no effort, yet provide a paycheck. Pride be damned!

This movie is clearly aimed at the over 55 group, and falls into the genre I fondly call "gray cinema". Although a more fitting description of its genre would be "insipid cinema". It's one of those movies that assumes anyone watching it has no interest in thinking, and only goes to the theatre for air conditioning and popcorn.

Michael Douglas stars as Oren Little, a selfish, racist, bitter, lonely Realtor faced with the insurmountable life decision of leaving Connecticut for his lake house in Vermont. The only thing left is selling off his $8 million family house ... until his estranged, former drug-addicted son shows up on his way to jail and drops off Oren's 10 year old granddaughter (Sterling Jerins). Fortunately for the little girl, Oren's neighbor is the kindly Leah (Diane Keaton) who embraces the girl despite Oren's aloofness.

Enough about the story ... though it is written by Mark Andrus who also wrote the decent As Good As it Gets. If you were to subject yourself to this movie, you would see: Michael Douglas and Diane Keaton alternating between scripted, lifeless flirtations and scripted, lifeless arguing; a pathetic attempt at slapstick by having Oren deliver another neighbor's baby on his sofa; the running gag of Ms. Keaton's character breaking into tears while singing during her nightclub act; and a paintball gun used to ward off a dog doing business on the manicured lawn. If you don't overdose on lameness with those scenes, you should be warned that somehow a little boy's penis is the subject for multiple one-liners. Somehow this even overrides Oren's racism for levels of inappropriateness.

Mr. Reiner has directed 3 classic films: This is Spinal Tap, The Princess Bride, and When Harry Met Sally. He also has some other entertaining films to his name including A Few Good Men. All of that just makes his last decade the more disappointing ... a very kind word for it. I will never be convinced that "gray cinema" cannot be entertaining and thought-provoking. Douglas and Keaton shouldn't have to limit themselves to supporting roles only. However, if this is all they get offered, I recommend working personally with writers to develop projects that don't embarrass themselves or the audience.

And So It Goes Goes Along Quite Nicely

[patsworld · 7/10 · 31 July 2014]

Michael Douglas hasn't lost much along the way, he's still engaging and believable in his roles. This one is no exception. Diane Keaton is – well, Diane Keaton. If you like her, you will like her in this role because all of her roles are pretty much the same. Me, I keep expecting her to come out with 'La De Da, La De Da, La De Da' at any moment. I'm not saying I don't like her, I do, it's just that her roles never achieve any real highs or lows, even when they are supposed to be exhibiting emotion. Her voice, as she proves in this film, isn't all bad for that of an aging chanteuse. But Rob Reiner – you had to throw in the trite, tacky scene with the dog humping the teddy bear? Come on, you're better than that. We expect more and better from your films. Altogether I've got to say this is a good picture, predictable, but enjoyable.

Very disappointed

[penniweninger · 4/10 · 3 October 2015]

I am a sucker for a good romcom, especially when it involves two of my favorite actors. So even though IMDb reviewers gave this title a collective 5.4, I gave it a shot. I was very disappointed. The script is sappy, the action choppy and some of the scenes and scenarios highly implausible, like when Claire explains the whole story of how Luke came to be in jail, in lurid detail,in a mere 90 seconds and Oren's initial dismissiveness of the clients who finally bought his house. The relationships between the characters were not always clear, e.g.m, the realtor who was Oren's grandson should have been Luke's son or nephew but we never got that; he got Luke's story from him on Facebook. Oren's character changed too abruptly. It could have been a sweet little story but it just did not flow for me at all.

I ALREADY TRIED TO RAISE A KID ONCE. IT DIDN'T WORK OUT.

[nogodnomasters · 7/10 · 30 November 2018]

Oren Little (Michael Douglas) is a successful Connecticut real estate agent wanting to sell his $5.8 million dollar home for $8.6 million. Being an old white guy he makes politically incorrect statements without knowing he is offensive. He lives in a converted apartment building that he also owns. His wife has passed on years ago, but he has trouble moving on creating a rough exterior. Like most people in Connecticut, he dreams of living in Vermont.

Leah (Diane Keaton) is his neighbor, lounge singer. She too has issues in dealing with a lost spouse. (Guess where this goes.) Out of the blue, Oren's long lost , former drug user son Luke (Scott Shepherd) shows up. He is going to spend a few months in prison and needs Oren to look after his 10 year old well adjusted daughter Sarah (Sterling Jerins) named after grandma, Oren's wife. Oren refuses but gets stuck with her anyway as she becomes a project for both Oren and Leah.

The film is formula. The on screen chemistry is hit or miss and doesn't seemed to be operating on all cylinders. There weren't any heavy Puffs' moments.

The take away for guys is that after sex, women require 10 minutes of cuddling...try not to get caught looking at the clock.

Parental Guide: No F-bombs, sex, or nudity. Implied sex. Sex/drug references.

And so it went down the drain

[pefrss · 1/10 · 11 August 2014]

I am always complaining that there are so few movies made for my age group. Well, for " And so it goes" I am the target audience, being the age of Diane Keaton or Michael Douglas.

Boy, did I hate this movie. If Hollywood does not chose to pair a grandfather with a woman of the age of his daughter or grandchild, they take the grandfather and make him a nasty, mean, racist pig and give him a woman his own age who is so desperate that she puts up with anything or anybody. Add to this depressing scenario some really weak attempts of humor like shooting a dog with a paint ball gun or Michael Douglas delivering a black baby or screaming at a little boy for being naked or Diane Keaton drinking out of wine bottle before sex..

This is the second movie I saw Diane Keaton in this role of desperate woman of a certain age putting up with despicable men. It was like watching Something Gotta Give all over again. And I have to say Diane Keaton always looks the same and always acts the same, same thing with Michael Douglas and Jack Nicholson. You never forget one minute that you are watching Diane Keaton, Michael Douglas or Jack Nicholson. I wish I could make millions playing myself.

Before I saw this dog I saw :The Hundred Foot Journey, which was much more enjoyable and the relationship developing in between two people in their sixties was much more believable.

Sweet movie with a lot of heart

[gds0023 · 9/10 · 27 July 2014]

I enjoyed this movie. I didn't expect any fancy special effects, just a story about two people, Diane Keaton and Michael Douglas, who are both widowed. During a heated discussion, Diane Keaton reluctantly admits to Michael Douglas (or Oren Little) that she's 65—no need to because she looks great – not like an over-botox, over- collagen-ed Hollywood movie star over the age of 40. Anyway, Keaton, or Leah, is trying to find herself and is doing a wonderful job as a lounge singer, although a little weepy during her act—but this just adds to the sweetness of the movie. Oren Little is a grumpy real estate sales person, who finds it hard to be happy. But, with a Rob Reiner movie, we KNOW that the main characters are going to fall in love and eventually be happy. Thank you, Rob! Throw in a little family dysfunction, a little sadness, and a little of life's discontent. However, add new family members, people going out of their way to help one another, and love blossoms all around. The songs Diane Keaton sings during her act are actually her singing. No stand in. Her songs are soulful and wonderful. Definite feel-good movie! Highly recommend!

Sort of a high end Hallmark film

[phlbrq58 · 6/10 · 15 November 2019]

If you're looking for a feel good commodity entertainment this should fill the bill. Talent, committment, beautiful location, quality production elements are all here. Predictable character arc, quirky, likable supporting characters. It checks all the boxes! My cynicism is split between this manipulative story and and my emotions falling right in line with it's beats.

Meh

[barb-53406 · 2/10 · 20 June 2020]

Can't stand Diane Keaton on her best day and this didn't change my mind. She phoned it in. Her repetitious under-her-breath murmured "ums and ohs" fillers are so GD annoying. Douglas was fine, for what it was, miles better than Keaton. I DID watch the whole thing, unusual for me with a Keaton movie.