• The shot where Schmidt has dozed off while writing a letter in his bathtub is supposed to resemble the Jacques-Louis David painting “Death of Marat”.
• Listed on a cinema marquee: (Left) Closed for repairs / (Right) Sideways (2004), the next movie directed by Alexander Payne.
• The church shown during the wedding rehearsal is in Boulder, Colorado, 20 miles northwest of Denver. The church can be seen on the right from Hwy. 36 just as you enter town.
• Scenes supposedly taking place at the University of Kansas were actually shot at the University of Nebraska – Lincoln.
• The production crew created a lifetime Endowed Scholarship for the real-life Ndugu, Abdallah Mtulu, through the real Childreach organization.
• The scene where Warren is swinging on the monkey bars was filmed at Steinhart Park, in Nebraska City, Nebraska.
• A scene that echoes Jack Nicholson’s famous diner scene in Five Easy Pieces (1970) (his exchange with the waitress) was in an early cut of the movie in which Schmidt concedes in a cowardly fashion to the dictates of the waitress. Though the preview audience went wild over it, director Alexander Payne cut it from the final film because he felt that the scene was too much of a pointed reference to Nicholson’s iconography and that something so referential took the audience out of the film.
• The movie theater that Warren drives by before he goes to the museum to look at the arrowheads is the Pioneer 3 in Nebraska City, Nebraska. The “museum” is a Civil War museum in the same town, just down the street.
• The Woodmen of the World Life Insurance Society is an actual organization. Jack Nicholson filmed his scenes at the company’s offices and was given a plaque making him an honorary Woodmen member.
• The word “Ndugu” means “brother” literally in Kiswahili (same as Swahili). It is also used as slang for “friend” as in the US.
• The film’s plot involves the children’s charity “Childreach”. Since 2002, the year of the film’s release, the organization has referenced the film and featured its poster in its literature for prospective child sponsors.
• Once the filmmakers bought the rights to the ‘Louis Begley’ novel, they kept the title and the main character but changed just about everything else. In the book, the main character lived in the Hamptons and his daughter was about to marry a lawyer.
• The person Warren listens to on his car stereo is famous conservative talk show host Rush Limbaugh.
• Melissa Hanna, who plays “Dairy Queen Employee”, is an actual employee of the Dairy Queen in Omaha, Nebraska where her scene was filmed.
• Other actors were also in the movie but cut before release. These were (with their character names): Tim Driscoll (Grocery Store Manager) and Jeff Morris (Farmer at Gas Station).
• Thomas Haden Church was originally considered for Randall.
• Nationally syndicated political cartoonist ‘Jeff Koterba’ had a walk-on role in the film; however, it was cut from the final version.
• For the role of Roberta Hertzel, Shirley Jones was considered but lost the part to Kathy Bates.
• When Jack Nicholson received the Golden Globe for Best Actor in a Drama, he commented afterward, “I’m a little surprised. I thought we had made a comedy.”
• The exterior shots of the “fraternity house” are of the actual Delta Delta Delta house at the University of Nebraska-Lincoln.
• The word Warren finds when doing the puzzle in his study is “Vassal” the solution to the puzzle is “Tabs on the tabs”.

• Continuity: Warren Schmidt’s home address is listed as 5042 Farnam Street for most of the film, but at the end, when he gets the letter from the nun, the address on the envelope is listed as 5402 Farnam Street (although, admittedly, it is not unheard of for mis-addressed letters to be delivered).
• Continuity: The position of the purple napkin when Schmidt is being fed the soup in bed.
• Continuity: During a conversation between Schmidt and his daughter, his sandwich changes from a fairly sparse one to a somewhat plumper one. It subsequently returns to its original thin shape.

• Continuity: During the conversation between Warren Schmidt and his daughter after the funeral, his right hand changes position on the glass of milk between the shots.
• Continuity: The broccoli changes position between shots on Schmidt’s plate during Ray’s speech.
• Continuity: The vacuum cleaner behind Jeannie during Warren’s lunch moves between shots.
• Continuity: The sky during Warren’s confrontation with Ray alternates between sunny and overcast.
• Errors in geography: When Warren is in Colorado, there are Nebraska license plates on cars parked in driveways.
• Continuity: When Warren uses a payphone to call Ray, he is asked to press “3″ to erase his message and re-record. He actually presses the # key.
• Continuity: Also in the payphone segment, a pickup truck that has begun leaving a parking lot in the background in the wide shot is nowhere to be seen in the background a split-second later when the shot goes to close-up.
• Continuity: When Warren Schmidt leaves Roberta Hertzel’s house to go and sleep in his RV, the RV is noticeably tilted to the right due to its being parked on the side of the street. When he is inside, it is perfectly level.
• Continuity: Throughout the retirement dinner, Warren Schmidt is wearing a small gold pin on the left lapel of his suit jacket. When he arrives home from the function and takes the phone call from his daughter, the pin is missing.
• Continuity: In the opening scene, while Warren Schmidt is sitting in his office watching the clock, the telephone, and especially the phone cable, repeatedly change positions on the desk between shots.
• Continuity: The seasons change back and forth, between winter and summer. Sometimes the trees are bare, but in the next scene, they’re full again. At the beginning of the movie, the trees are bare and it’s gray and cold. Yet, two weeks later he leaves on his trip and it’s summer all of a sudden.
• Audio/visual unsynchronized: After Warren returns to find his wife sprawled on the floor, the vacuum is seen to be unplugged. Despite this, a vacuum is still heard running loudly.
• Continuity: When Warren returns home from his journey to Denver which has presumably taken several weeks, you can see a vase of fairly fresh-looking flowers at the top left of the shot.
• Errors made by characters (possibly deliberate errors by the filmmakers): In the shot where Warren and Helen pull up to the restaurant for Warren’s dinner there is a sign that announces Warren’s retirement dinner. On the sign the word “retirement” is spelled “retirment.”

Such a slice of life-American life with it’s many warts-warts that theAmericans probably don’t even recognize: Winnebagos like movingpalaces, freeway monuments to genocide, business that consumes it’sworkers only to dump them unceremoniously, too much of everything thatamounts to emptiness, etc., etc. The novel by Begley, upon which thefilm was based, illustrated this consumer emptiness brilliantly by theinclusion of the bookends to the film, the sponsorship of the Tanzanianchild by Schmidt. The child’s material emptiness was contrasted withSchmidt’s emotional emptiness in a way America does not recognize muchless watch on the screen.

The last part of the movie dealing with the marriage of Schmidt’sdaughter to a man who came from a diametrically opposite "new age"family was an unstated acknowledgment by his daughter that she wantednothing of her father’s values-she wanted a complete break and she wasgoing to marry the break.

A fascinating, complex movie and I’m sorry I didn’t see it muchearlier.

2) I was dubious when my 65 year old father picked this DVD up from theshelf at Blockbuster. "Great choice dad!", secretly wondering why I lethim pick 2 films out of the 3 in the special offer they had going. Yousee, my father has a penchant for Woody Allen and anybody who has arather dry sense of humour, this includes Nicholson.

We sat down tonight, and the first thing that hit me was the way thatthe film was shot. It is shot using rather blue and green hues, so thefilm is rather subdued. Secondly, the music stands out. Instead ofusing a typical ‘boohoo’ orchestra, the film uses beautiful wanderingpiano and marimba sounds.

The characters, I could easily relate to. Helen, the faithful wife whois excited about getting to spend a new chapter of her life with herhusband. The husband, who obeys his wife but secretly resents it. Asudden change which causes a rethink in everything he has done up untilthat point.

At first, this appeared to be a comedy, but it was soon revealed to bea beautifully poignant film. Throughout, it questions mortality, whatyou can achieve in life, and how to cope with loss, or change. I don’tthink I have ever cried as much in 2 hours as I did during this film,and yet at the same time laughed so hard that my sides were splitting.

I would thoroughly recommend anybody to watch this film. It will staywith you for a long time.

3) This is the saddest movie I’ve seen in years, maybe in my entire life.People who say it’s comedy are dead wrong. It’s a realistic, brutallytrue example of a failed life, and it’s so tragic.

Nicholson plays Warren Schmidt, an insurance salesman, whose lifecrashes down on him when he retires. Nicholson, someone I’ve loved eversince I first saw him, gives his best performance since "One flew overthe cuckoos nest". He’s so subtle, so sad, so hollow. You don’t doubtfor a second that he is Schmidt. He has let his body age for the role,which makes him even more real.

Alexander Payne’s direction is flawless. Everyone, simply everyone,does a great job portraying the various characters, from the hotshotnewly educated young man who takes Schmidt’s job, to the embarrassingbuddy of Schmidt’s daughter’s fiancé.

This is a must-see movie. Even if you hate Jack in all his othermovies, you will love him in this one. Don’t expect a "hilariouscomedy", though. This is a thoughtful movie and not "Anger Management".

10/10

4) Jack Nicholson was robbed of another deserving Oscar for his portrayalof the lead character in this movie. This movie was very funny, but ina very dry, painfully realistic manner, like hitting your funny bone.

Nicholson plays a man, who upon retiring, loses his wife of many years.His daughter who lives in another state and who he isn't very close toinforms him that she's about to marry. He goes out to meet the futureson-in-law and his family who turn out to be basically one rung up theladder above trailer trash.

Dermot Mulroney turns in another excellent performance this time as thedim witted fiancé. Why he's not more respected in the industry I'llnever know. Hope Davis is perfect in this role as the daughter whosomehow always gets the short stick in life. Kathy Bates as anabrasive, obnoxious mother of the groom is something to see. Shedeserved her Oscar nomination as well.

The movie is an extremely stark, gray, black humor piece that isfrighteningly true to life. Pushed a few more degrees in anotherdirection and it could have been just one long root canal, but thedirector, Alexander Payne, walked just this side of that fine linebetween comedy and tragedy. Will most assuredly be one of the bestmovies of the fist decade of the new century.

5) This film must be watched very carefully. If you’re not paying enoughattention to it, you would miss it (some did). It’s in the frames, theatmosphere, the tiny details, the situations, the acting, everything.But it’s not that obvious, unless you enter that world. Simple story?Sure. Life is simple. So is great art. All in all, "About Schmidt" is areally great film. Bitter humor, all-pervading lie, the infinitesadness of loneliness and failure, sincere egoism, everyday dullness,desperate and quiet hope – this is life, and in a non-blatant, normelodramatic manner. But you’re going to weep (and smile) at the ending(I did!). And one more question: is The Mulholland Man the greatestactor ever or not?

6) About Schmidt is the story of a man left with the curious task oftrying to find meaning in his life at age 66. Most people by this agewould have hopefully figured out how and why they make a difference onthis Earth, but Warren Schmidt suddenly realizes he is insignificantafter all these years.

Schmidt is played to perfection by Jack Nicholson. This is not the JackNicholson we have all grown up watching in films like Easy Rider andThe Shining. This Jack Nicholson is subdued, almost lifeless at times,like the character he portrays. You keep waiting for him to explode orbreak out like Kevin Spacey in American Beauty, but it just isn’t rightfor the character. He’s too old, and weak by his own admission. Hefinds himself on a quest to make a difference in life before its over.And the film takes him for a leisurely ride.

About Schmidt is directed by Alexander Payne. He’s a man apparently ona quest of his own to put our great(?) state of Nebraska on the map ofthe film-making world.

After some obligatory shots of downtown Omaha, we see Schmidt sittingin his office on his last day of work before retirement from theWoodman insurance company. He sits alone and quietly waits until thelast seconds of the work day tick off and he’s then presumably a freeman. However, once the clock strikes five, nothing special happens! Inmost films, we might expect bells to go off, or music to start playingas the character joyfully begins his new life. Not here. Schmidt has nogrand plans for the rest of his life, and that fact is punctuated bythis dreary scene.

We then see Schmidt at a ho-hum retirement dinner at Johnny’s Cafe,then he gets started on his ho-hum retirement. It appears the onlything he plans to do is go traveling with his wife in their giantcamper which ends up as Schmidt’s primary mode of transportation therest of the film. Only there’s one thing Schmidt didn’t count on. Hiswife drops dead one day while he’s out getting a Blizzard at the DQ.(It appears they shot that scene at the one over in Millard.) After hiswife is in the ground, Schmidt goes through some difficult days. Hereally misses his wife. She seemed to completely take care of his everyneed as well as run his life in the process. He appears on the brink ofdespair at her passing until he finds evidence of an adulterousrelationship with his best friend!!! After throwing out all of herbelongings, he sets off on a sight-seeing tour of our great(?) statebefore planning to attend his daughter’s wedding in Denver.

In one particularly touching scene, he pronounces forgiveness for hiswife’s affair and resolves to do one important thing before he leavesthis earth. And that thing will be to break up his daughter’s wedding.She is planning to marry a simpleton who sells water beds for a livingand comes from an odd, new-age family of losers. Schmidt drives out toDenver on a mission, feeling as strong and focused as ever.

Once in Dever however, things don’t go according to plans. His daughterreally loves this loser, and won’t hear of leaving him. Her love forthis guy is as impossible for Schmidt to imagine as his contempt forher new family is for her to imagine. Schmidt and his daughter couldn’tbe any further apart. Kathy Bates is typically outstanding as theover-bearing mother of the man his daughter is marrying. Be forewarnedthough: Bates DOES in fact get naked in a scene, and it would be wiseto cover your eyes lest you turn to stone! Her family is annoying andyou can just tell their house smells like her feet which she has out inplain view once Schmidt first arrives there.

Schmidt isn’t having any luck stopping the wedding and it looks likehe’ll have one last chance to make his point. At the reception, after aghastly toast by the best man, it’s Schmidt’s turn to make a speech.And once again you think, "Here it comes! Here’s where he’ll go off andtell everyone what he thinks about them in one big comic rant!" But no,it doesn’t happen. That’s just not something his character is capableof. He can merely swallow his pride and say the only good things he canthink of. Most of the wedding party seems to buy it, but you can tellby the look on his daughter’s face that she knows it’s all b/s. Schmidtis in fact too weak to break up the wedding. Witness the despair on hisface as he stands at the urinal after giving the speech. He missed whathe feels was his last chance to make a difference in this world.

Now Schmidt has nothing left to do but go home to die. Only in thefilm’s last frame to we see any redemption to this tragic man’s life.And a very touching moment it is. I was in tears, and that doesn’thappen too often when I watch a film.

This film is worth all ten stars. This Alexander Payne appears to befor real. We already knew Jack was!! ps: Did anyone else notice thesymbolism with the cows? First at the retirement dinner with hispicture up next to two prize cows. Then the cattle truck being washedoff near his wife’s funeral. Then as he’s driving down the highway in abig truck just like they are. Then at the wedding reception as the beefis being sliced while he’s in obvious pain about how things have gone.

Food for thought.

7) Jack Nicholson stars as a Warren Schmidt, a man who suffers severalcrises at once. First he goes into retirement, then his wife dies, andfinally his daughter marries a no-hoper. Forced to abandon his usualcomfortable routine, Schmidt goes on a personal journey of discoveryand tries to make some sense of his life.

The beauty of About Schmidt is how well developed and interesting thecharacters are. They feel like real people struggling with realsituations, which is a surprisingly difficult trick to pull off. Thissuccess can be attributed to the strength of the script and mostimportantly to the uniformly superb acting.

This film provides a showcase for Nicholson to display his talent, andhe doesn’t disappoint, delivering a superb and multi-layered turn,which is a world away from the smirking characters he often plays. Heallows his face to droop, and adopts a world-weary expression, asSchmidt continually finds himself at the mercy of events.

One of Schmidt’s first decisions when he determines to get out of therut he finds himself in is to sponsor an African child. This doesn’thave much to do with the rest of the plot, but provides an outlet forSchmidt’s innermost thoughts, and is a brilliant and original way ofallowing the audience inside the head of the central character.

About Schmidt succeeds in tackling the subject of old age, a topic notoften addressed in mainstream Hollywood fare, and for that it should beapplauded. This is a terrific film, which features Nicholson at hisbest.

About Schmidt is Forrest Gump through the lens of Sartre or Camus.WarrenSchmidt has a handicap, but it’s the same handicap most of the peoplestanding on line at seven p.m. at your local Wendy’s have. The real star(oranti-star) of About Schmidt is the mediocre architectural landscape ofAmerica. Every room or box Warren Schmidt enters in this movie is asdevoidof caring and vitality as he is: the retirement banquet room, Warren’shouse, the tire store, the hired wedding reception room. Schmidt’sdirectorand production designer take care to place us in the same life-draining,cheap structures we inhabit and deal with everyday. No prettifying. Thisisthe drab landscape of Fargo revisited, but without the irony. The steadydoses of violence in Fargo allowed you an escape route. But there’snothingironical about a wasted life and a 66 year old widower spinning hiswheelsin the same rut, now partnerless and foundering. The combination of Jack,this story and these settings is effective and compelling. The resultwouldbe, I think, inevitable. The tone and attitude is not consistentlymanaged,even by Nicholsen, whose worn-out, mannered schtick pops up occasionally.Yet the final effect is impossible to fend off: mundane American hellwithdroll comedic diversion. We experience a downfall as poignant as thesmellof bacon cooking in Denny’s at eight a.m.

Like Forrest Gump, the film depends on extensive voice over narration,V.O’dby Nicholsen as letters to Schmidt’s newly adopted six year old Tanzanianfoster child. Through these ridiculous sharings of sextagenarian angstwithan African boy, we register Schmidt’s internal grievances – thoughts wewould never know about otherwise without his commentary. The slowdraggingscore drains vitality from each transition, as if cinematic momentumwouldbe antithetical to the point of the tale. Back and forth we rock from asingle minor chord to a second one, getting nowhere. The mood, thelandscape, the buildings, the people say it all: Schmidt’s on the road,buthe might as well be sitting home in his lay-z-boy. The cushy bucket seatofa 35 foot Winnebago makes a good substitute.

Casting Jack Nicholson may have been the only way this story could havecome to the screen. I’ve racked my brain to think of one other actor whocould have pulled Schmidt off. Tony Hopkins? Not with the same comedicfinesse. Gene Hackman reprising his role in Coppola’s The Conversation ordoing his Tennenbaum hamming? Don’t think so. Only Jack has the mix. Hedoessome hilarious bits in this, but overall the mood is somber, glum, inert.Can this be how that other famous Warren from Nebransas – Mr. Buffet -lives?

I was confused, amused, depressed and wierdly disoriented by AboutSchmidtas I left the theater. I commented that it wasn’t a film I’d go seeagain.Thinking about it a day later, I’d hold to that IF it meant returning tothetheater and paying. BUT – were I to run across About Schmidt on cable, Idoubt I could tear myself away from it any more than I could from a crackupat the Indy 500. And I think that chance encounter might happen more thanonce, maybe for years. After all, this is the America I know and marktimein myself. A recommended film going experience.

9) This is an inspiring story. It teaches me so much about what isimportant in life. Jack Nicholson, with a great performance as Warren R.Schmidt is an example of an American middle class after retiring. For manyyears he has worked as an actuary at a big insurance company. Afterretiring, Jack at home, while watching television, he decides to sponsor asix years old boy (Ndugu) from Tanzania. Sending a check of US$ 22,00everymonth, he is also required to write a letter to the boy. In the process ofwriting these letters, he vents out to the boy about his lifefrustrations,his lost dreams and the dilemma he is in.He is married for forty-two years with his wife Helen (June Squibb) and hehas a daughter living in Denver, Jeannie Schmidt (Hope Davis) who willmarrya looser pretty soon. He misses his daughter. A few days after hisretirement, his wife dies, and Jack realizes how important the wife was inhis life now even though he never appreciated her.The director of the movie, Alexander Payne takes the audiences withJack on a trip in a trailer to visit specific places in America. He mainlymakes Jack visit the places where he has been before physically but at thesame time Jack was revisiting his own life inside. In this trip herealizeswhat really matters in life – friendship, family and sharing- then why itisimportant to appreciate them whenever you have a chance.

In ‘Citizen Kane’ (1941), the director Orson Welles portrays the sameidea when creating Mr. Kane. The movie is more than the story of atycoon’srise and fall; it is an account of what is ultimately important in aperson’s life. Even though Kane attains riches and prestige, he is farfromhappy. He ends with two failed marriages and few friends. At his dyingbed,all he has left is his reminiscences – and something called"Rosebud."In ‘About Schmidt’ the director Alexander Payne uses voiceover toconvey Jack’s thoughts and memories throughout the movie. To be specificitis when Jack is writing a letter to the boy he sponsors – (Ndugu), at thesame time Payne is informing the audience about Jack’s regrets and painconcerning his wife and daughter while the movie is still rolling on. Ithink this is a great technique.I believe this has been a great adventureand wake up call to many Americans as to what is important in life and whywe should cherish every moment of it.

10) I spent a day watching "About Schmidt", with Jack Nicholson… and thenthe evening rambling through reviews, since my wife's perception of theending differed somewhat from mine….

Conflict can often lead to enlightenment and discovery, but not so inthe case of Warren Schmidt. In his case it leads to a life ofcomplacency, denial, delusion, and passive-aggressive behaviors… andeventually, to a meaningless life of servitude devoid of passion orpurpose.

Since my wife and I are around the same age as the character, and weponder the same issues of our lives, the film had more significance tous. I found the work to be a cinema-graphic piece of art laced withsymbolism and dark humor (at best). I likened it to previous movieslike "Death of a Salesman", "The Apartment", "The Swimmer" (BurtLancaster), or a short filmed called "The Bridge".

As a cautionary tale (or social comment) on the "American Way" of life,the messages it conveys are slightly exaggerated, but neverthelessthere to be debated. We are talking about identity, achievement,interpersonal relationships, and the "average IQ".

In the end, I believe this film will become one that is studied infuture classrooms, and it was brave of Nicholson to participate in sucha character study and a work intended primarily for writers, actors,and directors. If laughter is "the sound we make when we are surprised(or shocked) by the truth", then the amount of humor you find in thisfilm may be directly related to your own level of naivety or denial.After all, laughter can often be just another defense mechanism, right?

Some movies are straightforward, some are magical, some are mystical,and then, some are symbolic. This movie falls into the last category.The use of time, space, cognitive dissonance, and Irony abound in thiswork and challenge us to look, think, and feel.

Notes: we would have cut or altered the "Percodan scene" at therehearsal (as overdone), also note- the cattle at the funeral who laterappear on the freeway, inside jokes about Des Moines and Denver,Randall's "Certificate of Attendance", the look on Jeannie's face atthe end of Warren's speech at the Wedding Reception, the use of"overstatement", details of wall decorations, and Warren's obviousattraction to the trite, idealistic, delusional, and superficial.

If you are a thinking, feeling, serious movie-lover, you should SEEthis film once, and then STUDY it the 2nd time!

2) this is a very moving and heartwarming made for TV drama.i'm sure manypeople cringe when they here the words 'made for TV.i think that's toobad,because there are a lot of well made TV dramas.this is certainlyone of them.it is as i said heartwarming,but it also has its sadmoments.it concerns a mentally challenged woman named Sarah(hence thetitle)played by Mary Steenburgen.she is in her 40's and has a normaldaughter.Sarah can not look after herself,so she is looked after byboth her mother Rose(Marion Ross) and also her daughter MaryBeth(Kellie Martin)rose dies and it becomes Mary Beth's responsibilityto look after her.she has some help in the form of Lila,Sarah's auntLila(Dianne Baker).anyway,the movie details the struggles they have inlooking after Sarah.the movie does play on your emotions,but thatdoesn't matter because it has the goods to back it up back it up.thereare few surprises in the movie and a revelation or 2 that you might ormight not see coming.the acting is superb on all fronts,but it'MarySteenburgen who turns in a superb performance as Sarah.she is verybelievable and credible in the role.Kellie Matin is also very strong asMary beth.all in all,this is a very well made production.i can't findanything wrong with it."about Sarah" is a definite 10/10

3) Who says only Hallmark Hall of Fame can make wholesome, heart-warming films."About Sarah" is one of the best movies I’ve seen on television in a verylong time.Kellie Martin’s performance was just what we’ve come to expect from her –sincere with just the right dose of angst thrown in for good measure. Thereal star of this movie though, who deserves all the accolades she’llrightly receive for her performance, is Mary Steenburgen. What a greatperformance! If she isn’t at least nominated for an Emmy, there is nojustice.

4) Bravo! Mary Steenburgen presented a very believable and touchingperformance. The movie had all the critical elements: comedy, suspense,conflict, grief. It was heartwarming, but not "mushy"; wish they made moremovies like this…

5) This was one of those rare films that didn’t really seem to have any majorweaknesses. Usually, when one breaks down a good movie into individualcomponents (the story, the direction, the casting, each performance, thewriting, etc.), one starts to realize that there is one element that ismaking up for other weaknesses (e.g., the direction of "Dead Poets Society"makes up for its predictable story, the performance of Kellie Martin in "AllYou Need" makes up for its uneven writing, etc.), but this is one of thoserare films (along with films like "Amadeus," "JFK" and Kenneth Branagh’s"Hamlet") that seems to improve when it’s broken down.

Probably the strongest good point of this film is its excellent acting. Mary Steenburgen is hurt a little in the mind of the viewer when watching byhaving to play a person with a mental handicap (Anybody who has to do thatnow has to contend with Dustin Hoffman’s performance in "Rain Man," and whocan really do that?) but manages to pull it off excellently and even nearlyoutshine the incredible Kellie Martin. Notice the word, "nearly," there,though. I think one of the most interesting things about watching hermovies is that one can easily see her progress over time, and this film is agood example. I watched this on the same day that I first watched "The Faceon the Milk Carton" and when I consider these in comparison to one another,it is obvious that she had improved greatly by this time. While it is noton the level of her utter brilliance in "All You Need" (which was threeyears later and one of the absolute greatest performances I have ever seen),her performance in this film is nothing short of the excellence one wouldexpect of Hollywood’s most respected stars such as Robert DeNiro and DustinHoffman. The world’s most beautiful woman actually seems to be improvingwith each performance, which means that she may actually end up catchingEmma Thompson for the title of "best female actor on Earth," in my opinion,and "About Sarah" includes one of her finest performances. The other actingis well done, though none of the other roles really requiresmuch.

Now, I must praise director/co-writer/story-creator Susan Rohrer. She cameup with a plausible but somewhat original and very powerful story andexecuted it wonderfully. While the direction is not striking like KennethBranagh’s in "Hamlet" or Oliver Stone’s in "JFK" or even Randy Ser’s in "AllYou Need," that type of direction is not warranted for this film. What iswarranted is what is given: simple. She allows the brilliant ensembleperformance to give the film its depth by using shots that let the actors’emotions come out without pushing it into the viewer’s face. The storylineis powerful and plausible but still somewhat original, and it is writtenwell. The dialogue to this film is done so realistically as to give it apower not unlike the power of the completely unrealistic but brilliantlywritten dialogue of "JFK."

Overall, "About Sarah" is a very good movie. It’s not a masterpiece, butit’s not too far off. In fact, it’s even good enough that I would say it’smy favorite Kellie Martin movie that I have yet seen (though I was soimpressed by her performance in "All You Need" that even her excellentperformance here seems almost disappointing). The direction and the writinggive it a subtle power that cannot help but call to mind the master ofsubtlety, Peter Weir, and the performances are nothing short of brilliant. You should not be disappointed from watching this movie.

I do have to say one thing about it that may not seem worthwhile, though. At one point, Mike says to Mary Beth, "You’re one of the prettiest, smartestgirls I know." How in the world does this guy know anyone prettier thanKellie Martin? I’m not sure that’s humanly possible.

6) Such a beautifully acted tearjerker. Kellie is superb in thisfilm.It is the story of a young woman, Kellie, who becomes guardian ofhermentally retarded mother. This is a positive, uplifting filmaboutnot giving up on people.

7) Touching movie about a daughter’s love for her mentally slow mother.Excellent performances by Kellie Martin and Mary Steemburgen. Would not besurprising if both actresses went up for awards for theirperformances.

2) It amazes me how this movie is so seldom shown is not available on DVD.It's one of the most original love stories ever made, the leads aresuperb, overcoming the initial impression they are miscast. That proveswhat gifted actors Booth and Ryan were. This bittersweet love storybetween a less than glamorous piano girl in a shabby bar and a handsomebusinessman covers several years of their annual clandestine meetinguntil their romance is interrupted by World War II. All along the wayyou have a foreboding of doom for these two unlikely secret lovers, butyou root for them anyway. I've written to TCM begging them to show thisfilm, I hope they do so soon.

3) Mrs. Leslie knows both the joys and sorrows that come with lovingdeeply–and, to her, the joys outweigh the sorrows! She goes all out tohelp those rooming in her home to fulfill their dreams. Mrs. Leslie’sstoryis moving and inspiring!

4) About Mrs Leslie,in less credible hands,would have been just anotheraverage1950’s tearjerker,but in the hands of (Oscar) winning actress "ShirleyBooth" the film crosses the boundary, from maudlin to interesting. Anyonefamiliar with Booth’s acting genius, knows that the actress could havemadea film about the invention of the "pencil sharpener" worth watching. Itcouldbe said, and rightfully so that ‘Robert Ryan"was miscast, as Mr. Leslie, but if given achance, I believe you’ll gladly overlook Paramount’s little casting error.Allin all, About Mrs Leslie, isn’t "Shirley Booth’s" greatest moment, but shestillhad reason to crow!I highly reccomend this dramatization of "Vina Delmars" best selling novelofthe same name.

5) This is a silly, tear-jerker of a story, but interesting in spite ofitself, the kind to help you pass a rainy day when you're feeling kindof blue.

However . . . . if anyone wants to know who was one of America'sgreatest actresses, they have only to watch Shirley Booth in this film.She was a very low-key, actually kind of dumpy-looking woman, with anot very pretty speaking voice, but she will keep your attention, amazeyou, and break your heart. Even though she looks sort of like she couldbe Robert Ryan's mother, or at least his older sister, you don't have amoment's doubt that this tall, handsome leading man could fall for herand maintain a long-term relationship with her. She is luminous in herquiet way.

Booth did many stage plays, and to give you an idea of the heft of heracting abilities, several of the parts she played on the stage weresubsequently played on screen by Katharine Hepburn. Booth unfortunatelylacked what Hollywood considered glamor, but she was chock full oftalent and charisma. If you know her only from re-runs of the sitcom"Hazel," you are in for a big surprise if you see her in this film, orin the even better "Come Back Little Sheba."

6) How can one not help but sympathize with Shirley Booth in this story oflove that cannot be fulfilled. In these days it seems silly that adivorce would be such a large problem, but I cried over Shirley’sposition, perhaps since most of us have been in the situation of beingin love without the possibility of it being returned in kind. Shirleyplays a wonderful woman that puts herself in an emotionally impossiblesituation. At first glance, the childish antics of Shirley Booth’srenter seem to serve no purpose, but her interaction with the rudeyounger generation reminds us that everyone has a story, a fact thatyounger people usually fail to see. The idea that everyone needs tolove someone to get through this sometimes unfair and angry world, is ahuge theme in this tearjerker. I would highly recommend it to couplesthat sometimes face adversity.

7) What a movie. I don't know how or where to start to rave and praise it.The acting, the story. So very believable, and for a woman to live witha man outside of wedlock in the 1930's…well, unheard of then…ormaybe not so. This is the story of a woman who accepts a man who canonly offer her a six week a year commitment. But, oh, it is so worthit. You have to see this movie to fully understand it. The casting ofboth Shirley and Robert were perfection. So realistic. A very, verypoignant and touching piece. Youth vs. age, many subplots, but done ina superior way of flashbacks. The character of Mrs. Leslie is one whohas learned all about life's foibles and disappointments. She has hermemories of her "Mr. Leslie, honey," to sustain her. I cannot praisethis movie enough. I have it on VHS, recorded from TV. I cannot locateit on DVD. See this if and when it replays on television. It isamazing.

This movie was ahead of it's time, but still posturing to the "Code"and Hayes Office. "Mrs. Leslie" knew she was a once a year Date for amarried man, in a "Open Marriage". The movie treated her with respect,as a woman, and not a cheap whatever, going to a Motel with a marriedman. It didn't matter to her the "reasons" that this man craved hercompanionship once a year. He never gave her the trite, "I'm getting adivorce", or "She doesn't understand me" spiel when he arranged theirvacations. He didn't say anything about his wife, i.e. put-downs,horror stories, when he was Mrs. Leslie, either. The only people in thefilm that treated her like scum were the Lawyer for the Estate, and theneighbor she babysat.

9) This is a wonderful love story. Shirley Booth is Vivien; Robert Ryan isGeorge Leslie – Leslie is actually his middle name – he wanted to keephis identity a secret from Booth.

Booth is an "old maid" type who is introduced to George Leslie, awealthy businessman. They have a long-term affair as Ryan is married.This was rather risqué as the flashbacks take place in the late 1930sthrough VJ day, 1945.

As the movie opens, Booth is an elderly woman who runs a boardinghouse. She recounts her life with Ryan in a flashback method.

The scene near to the end is most moving. It is VJ day in NYC. Booth isworking in a dress shop and she is pulled out to the street to join thecelebration that WWII is finally over. As she stands in the street nearTimes Square, she see the news ticker flash the message: "George Leslie_______, died suddenly today of a massive heart attack . . ., " atwhich point she swoons. The film returns to Booth as an older landlady.

The catch phrase in the film used by Booth was, ". . .Mr. Leslie,honey," each time she would meet with or part from Ryan.

It was a moving film, different from the typical post-war movies of thetime. Shirley booth was excellent. Robert Ryan, who was a Marine andserved with the OSS in Yugoslavia in WWII, was excellent.

I wish I could get a copy of the film. It made quite an impression onme and I saw it only once. I hadn’t noted the title, but when Idescribed it to my dad, who knew every movie, I said "Mr. Leslie,honey." and he knew it immediately.

10) First, it must be mentioned that Shirley Booth was a fantastic actressin both film and stage, the latter being her forte. Here was an actresswho, despite the fact that she was not Hollywood model material by anymeans, could run rings around scores of her drop-dead gorgeouscontemporaries in the acting department! It’s really a pity that shebecame typecast as "Hazel" in her popular television series, becauseshe could, and did, offer so much more.

That said, now comes the plot of this particular film. A fairly goodlooking, well to do up and comer in politics, albeit married to someoneelse, falls in love with Ms. Booth’s somewhat frumpy character. Highlyunlikely, some people would say, but it happens in this film, and ithappens in real life, no matter what the media would have you believe.Robert Ryan rendered a fine performance, and both of them generated theright chemistry. This is where it gets really good. The love that’sshared between these two comes across as quite genuine. In fact, itblossoms throughout the film by way of a good plot! No spoiler here!You must see the film in its entirety to understand this.

Yes, the film plays out like a soap opera for the most part, but theidea behind it, the love between these two people, no matter the odds,is very real. There are lots of sub-plots going on throughout, but theyall seem to come together perfectly and sensibly in the end. Manyfacets and foibles of human nature are addressed quite well in theprocess.

This is a must see, as are all of Shirley Booth’s movies, at least inmy opinion. It’s too bad she didn’t make more of them.

Tokyo – This is story that trades affection for passion. There is nosteamy love scene. Instead it present a companionship. The guy is alonein a 20 million people city, barely able to communicate. The girlsuffers from a recent breakup. Unique feature: The photos taken showingthe two people constantly close, but never meeting each other. The flippapers, very original.

TaiPei – Although this story contains passion, it is ultimately aboutcompanionship if not friendship. As the story progress, you can reallyfeel the torment in the girl. The insomnia, the rebound, thedesperation of getting back together, is perfect. Many firms would haveoverdone it. The guy’s understanding and his determination to help, isboth touching and hilarious. Unique feature: the comic relief of theirdance, the tunnel scene.

Shanghai – Since this is my hometown, it has a very special place in myheart. The laundries along the street, the bickering of the mother, andthe wasteland caused a sea of memories to rush back. The secret love ofthis story is extremely subtle and overwhelming. The girl’s attentionto detail, tone of her voice, and since this is probably her firstlove, it is very innocent. Of the three male actors in the threestories, the guy in this story may be weakest character. His breakup isnot nearly as powerful as the prior two. Unique features: The goodbyebtw the girl and guy, the reattachment of the letter(which I am amazedthat the guy did not find suspicious, considering she asked him totranslate), and the street(amazing that the filming crew could findplace so quiet and undisturbed by modernization in Shanghai).

2) This is one of those three-in-one movies. While the three stories,which take place in three Asian cities, are loosely linked, they arenowhere comparable in complexity to the essentially interlockingstories in 21 Grams. As the matter of fact, the links are not at allnecessary, as the stories are independently intact. The links, Isuppose, are put there to extract the ooh’s and aah’s from people whodig such things. Nor is the structure anywhere near the brilliance ofAmores Perros.

Although the title is "About Love", the stories touch more on the"pre-love" sentiments sometimes called infatuation, that delicate"click" that starts a bitter sweet relationship which, in time, may ormay not blossom into love. Equally interesting, as my summary linesuggests, is that aspect of cultural and language barrier that is quitesimilar to what we see in Japanese Story. Here, however, the gap issmaller as the encounters are within Asian cultures, in each casebetween two young people, one Chinese and one Japanese. In all threecases, one of the two is going through a tough period after a breakup.Each story, however, has its own unique flavor.

In Tokyo, he is a Chinese computer graphic artist seeking to enrich hisexposure while she is a Japanese painter struggling to recover from abroken relationship. This is the simplest and sweetest of the threestories, starting with hidden mutual attraction and ending in theirfirst meeting. This is also the only one of the three stories with a"sub-plot" (a really glorified use of the term) of his friendship withtwo other art students, both girls, one Chinese and one Japanese.

In Taipei, she is a local girl suffering from a broken heart and he isa Japanese visitor she asks in the middle of the night to help puttingup a wall unit. This is the only story with a scene of brief libidodrive which, however, quickly subsides. The rest of the story is on hishelping her by asking her ex-boyfriend whether there is a chance ofgetting back together. Among the three, this is the story that playsmost on the language barrier thing, with some absolutely hilariousscenes resulting.

In Shanghai, he is a Japanese student renting a room from her mother.She probably has a crush on him at first sight but keeps it deeplyhidden when she sees how devoted he is to his girlfriend. But when hegets a postcard from the girlfriend ending their relationship, herattraction to him intensifies, although she never reveals it. This isthe most poignant of the three stories. Romance aside, this story alsotakes a quick jab at the maddening scene of urban development ofShanghai.

This thoughtful film by three capable Asian directors should not failto delight, even if not enthrall.

Starring:

In Tokyo – Ito Misaki, Chen Bo-lin

In Taipei – Kase Ryo, Mavis Fan

In Shanghai – Tsukamoto Takashi, Li Xiaolu

Directors: Shimoyama Ten, Yee Chih-yen, Zhang Yibai

3) Recently, we have noticed an increasing trend in multinationalproductions featuring short films by several directors. For example, wehave Three, Three Extremes, Eros, and the BMW Films. Actually suchpractice was not uncommon in Europe in the 60s; the difference is thatAsian directors were overlooked back then (with the possible exceptionof Japanese directors), and are now usually at the forefront of thesefilms.

ABOUT LOVE is a 3-part romantic film featuring the talent of China,Japan, and Taiwan — although the names would not be as famous as thedirectors of Three Extremes. In each short film, there is a He and aShe, and one is always Japanese, the other Chinese. All 3 are highlyevocative, although each part evokes distinct emotions.

The first short film is an upbeat fairytale from Ten Shimoyama (St.John's Wort). In Tokyo, the story begins with a woman Michiko receivinga phone call from Tecchan, while going through her daily wandering inthe midst of 20 million people. It has been 1320 hours since herboyfriend failed to return, and her boyfriend just ended their 3-yearrelationship with a 4 second phone call. She finds comfort from aChinese student (Chen Bo-lin of BLUE GATE CROSSING) who posts drawingson her door, drawings of her gradually recovering. This part is shortand sweet, filled with the wonderful nightscape of Chen Bo-lin ridingthrough Tokyo in solitude. The super evocative music perfectlycomplements the imagery.

One word to describe part 1: Fairytale. [10/10]

The second segment actually precedes the first part in terms of timeline. In Taipei, unable to sleep, a woman spends all night poundingnails into a bookshelf to release her frustration. She calls Tecchan(whose voice we hear in part 1) on the phone to come over. She doesn'tspeak Japanese, while his Chinese proficiency is probably 5%, but thatdoesn't stop them from attempting to communicate. In the hands of YeeChin-yen (dir: BLUE GATES CROSSING), this part has a more experimentalstyle, featuring super lengthy takes and not-so-smooth cuts. The style,along with the emotionally unstable and disillusioned protagonist, arebordering Wong Kar Wai territory. The most memorable scene from themovie can be found in this segment: in a 3-minute scene, he tries todeliver her a message in Chinese. They go back and forth decoding theexact message, full of repetition, but she knows that he is just tryingto make her feel better; he is helping her to keep the last inch ofhope alive. The result is both hilarious (esp if you know the Chineselanguage) and heartfelt. For those who have seen BLUE GATES CROSSING,it's the equivalent of the lengthy chair-pushing scene, but here therepetition is even more striking.

This segment illustrates the impossibility to let go, and what one cando to fill the emptiness. The main characters' complexity are also thestrongest here. Feelings of loss, missing, incomplete, dependency,vulnerability, longing are inevitable. [9/10] (I took off one point forhis not only frustrating, but also irritating attempt at speakingChinese. It goes beyond believable sometimes)

Our last stop is Shanghai. The life of working class girl YunYun hasbeen lacking, until the arrival of a Japanese teacher. Instead of goingto school, she is working as cashier at her home store, and studying athome. At some point, he stole her heart, but he is too busy fulfillinghis dream (for which he came to Shanghai) to notice. His ex-girlfriendalso waited for him, but she realized it was only his dream, not hers.For YunYun, love hurts. One year later, he returns to Shanghai, tofinally discover the true love that he missed. And yet, the walls ofYunYun's family residence has been crumbled, the neighborhoodnonexistent. In the midst of 10+ million people, how can he find thisgirl whose heart he melted, and finally grant her the comfort of beingin his arms?

One word summary for segment 3: poignant. [8/10]

3 flavors of love, 3 unforgettable experiences. Romance doesn't getmuch better than ABOUT LOVE.

• The original title of this film was “Sexual Perversity in Chicago” (taken from the play it is based on). The title was changed after many newspapers and TV stations refused to run ads for a film with such a title.
• Phoebe Cates auditioned for the role of Debbie, which eventually went to Demi Moore.
• Originally this movie was to be made with John Belushi and Dan Aykroyd, but after John Belushi asked his brother James Belushi, who had starred in the play previously, James Belushi said that he didn’t want John Belushi to take the part because James Belushi didn’t want to be compared with his brother.
• The cartoon Danny is watching after he gets fired is Beany & Cecil. ("Matty's Funday Funnies" (1959)).
• Elizabeth Perkins’ film debut.

• Continuity: Dan’s meal on New Years Eve.
• Continuity: The froth on Debby’s champagne at New Year’s Eve.
• Continuity: The clock in Dan’s City Diner when Litco is giving him the first delivery of stolen restaurant supplies.

• Continuity: The end of the movie apparently takes place when the softball team has a spring practice. However, we see that the leaves are changing.
• Continuity: When Danny enters the bar on St. Patrick’s Day he is soaking wet. When he and Debbie go outside seconds later Danny is completely dry.
• Continuity: The softball that Bernie is holding goes from a Chicago-style 16 inch clincher softball to a 12 inch ball and then back to a 16 inch ball again.

After a one-night stand at Danny’s apartment, Debbie tells him, "It’sbeen a slice of heaven." She returns to her place where she lives withJoan (Elizabeth Perkins), a kindergarten teacher whose smart ass tonguediscourages most men. Meanwhile at work, Danny’s buddy Bernie, aNeanderthal barbaric like fellow (played beautifully by Jim Belushi)who sees himself as a lady killer, queries his friend about his datewith Debbie.

The affair continues, and Debbie decides to move in with Danny. Livingtogether proves to be a difficult experience for them. They try outplenty of new positions for sex, but find that coping with each other’shabits, quirks, and expectations is far more challenging. Danny’spassivity and inability to open up bother Debbie. At one point, hediscovers her looking through his private possessions for clues to hispast life.

Debbie, of course, wants them to be a couple, while Danny, hidingbehind the myth of the independent male, doesn’t want to tie himselfdown and so ends up treating Debbie as nothing more than a live-insexual object. And if there isn’t enough tension between them, Bernieand Joan are constantly trying to sabotage their relationship. Thus thebeginning of the end starts when Danny and Debbie use the "L" wordafter a steamy night of passion. Danny’s frustrations with his careerspill over into his relationship with Debbie. More frustrations comeabout with his best friend Bernie giving him a hard time about beingwith Debbie, losing touch with his own free spirit partier identity anda lack of communication with Debbie. This ultimately leads to a gutwrenching break up scene followed by Danny’s painful attempts to getDebbie back after he finally realizes that what he had was special andnow wants back what he has lost.

As I was watching this movie I found myself squirming in my seat whilethese characters struggle to relate to each other. It wasn’t verydifficult for me to remember that I had gone through the sameheartbreaking downfall of a good relationship in my early twenties dueto my lack of communication and inexperience regarding matters of theheart like Danny in the movie. And how difficult it can be to move on.My only peace of mind comes at the end when Danny and Debbie decide tostart courting again. This time with the realization that they wereboth unrealistic and naive and that they will be better to each otherbecause of the painful lessons learned. The voices inside Danny,Debbie, Bernie, and Joan speak volumes about the loneliness, anger,self-hate, and fear of men and women who remain perplexed aboutthemselves and the opposite sex. About Last Night is a provocativeportrait of young adults. A very underrated movie and a must see.

2) This movie is extremely entertaining and moving. Neither Demi MoorenorRob Lowe has ever looked better (and you get to see plenty of them). Thelast scene never fails to get me, and the whole movie rings incrediblytrueon being in love. Hell, Demi Moore even looks and acts like a girlfriendIhad when I was a little bit younger. This is a funny, smart movie thatstays with you forever, and I will pay it the ultimate compliment: We arelucky it was made. Vastly underrated on this site, About Last Night is aten.

3) Film gets ripped by most, but I like it. Rob Lowe & Demi Moore findeachother and enter on-again, off-again relationship. Demi has never lookedbetter, and Jim Belushi is outstanding as Lowe’s well-meaning but crudebestfriend. More realistic about relationships than most Hollywoodproductions.

4) In 1980’s Chicago two attractive young people develop a very 1980’srelationship. After falling into bed together on their first meetingthey progress through a tentative relationship to moving in together,moving out again, and then possibly to some sort of reconciliation.

The film was made contemporaneously with the period it is set in and isone of those films that evoke their particular time with well-observedaccuracy. Demi Moore and Rob Lowe deliver strong performances as thearticulate, successful – and confused – central characters, with Moorein particular able to reflect on the developing crises with astuteasides.

The film possibly has two structural problems. First, it is too long.Boy endlessly prostrating himself in front of Girl he has sent packinggets tedious, and the tension regarding what may happen starts todissipate.

Secondly, the more-or-less mandatory Best Friend characters are almosttoo strong. Lowe’s buddy James Belushi is a chauvinist slob, but also abit of a charmer – and with some of the best lines. Moore’s confidanteElizabeth Perkins may be something of a shrew, but a damned attractiveone. These two take an intense dislike to each other from the start,and as the main romance stalls their relationship becomes by far themore interesting one with its vague possibility that such a sparkyloathing just might lead to something more positive – if prettycombustible!

5) I was in my mid teens when this film first came out and I watched itfor the first time a couple of years later when it was released on VHS.20 years after its release, I still watch it because this is one ofthose rare films where the cast selection is superb and the acting is10/10. Although the soundtrack is very 1980's, some of the music istimeless (for those who are interested, Mica Paris' version of "Wordsinto Action" is just as good as Jermaine Jackson's original).

In my humble opinion, Rob Lowe (Danny) and Demi Moore (Debbie) have byfar the best on-screen chemistry that I've seen. Their portrayal duringthe emotional scenes are amazing and so realistic that they leave a"lump in my throat" every time. James Belushi deserves so much creditas the comic sidekick as does Joan (Elizabeth Perkins), Debbie'scynical friend.

One thing though; I've always wanted to know what happened to theircharacters twenty years on. So, to Edward Zwick (Glory, Blood Diamondetc.): Do you fancy making a sequel; "About Last Decade"? Seriously,About Last Night is by far the vest romantic comedy from the past twodecades and for that I give the film 10/10.

6) Debbie (Demi Moore) is a successful, young professional in the Chicagoarea. She and her friends like to hit the neighborhood bar and ogle themen. These women consider themselves "modern", that is, they are notlooking for a lasting relationship, just a hot night with Mr. GoodLooking. One evening, after a softball game, Debbie meets Dan (RobLowe). They are instantly smitten with each other, both being veryattractive and very hormonal, and they spend the night together. Debbietells him thanks for the "slice of heaven" and goes on her way. Yet, aday later, they end up calling one another on the phone, at the samemoment. They set up a second date, which ends in another lusty evening.Fairly soon, they move in together but set up guidelines. None of thisacting like a married duo, although they take turns cooking andshopping. Yet, is it possible for them to treat each other likeroommates only and never let their hearts be touched? And, how longwill their relationship last? This is truly a very romantic movie withmany assets. Lowe and Moore are absolutely gorgeous, gorgeous humanbeings and lovely to look upon. The movie also has an intelligent,humorous, truthful and very touching script. Then, too, the costumes,Chicago setting, and cinematography are very worthy, indeed. However,if you like your movies without a lot of sexual encounters, this is notthe film for you. This story is an exploration of the nature of modernexistence, where sex and birth control are both readily available. Assuch, it has many eyebrow raising scenes of romantic tete-a-tetes.Therefore, if you prefer good, clean romance movies, try Return to Meor Only You instead. But, if you are willing to look past some fast andloose scenes in exchange for a truly touching and romantic film, getthis one tonight.

7) One of my favorite Mamet scripts, About Last Night is true to life and afine piece of film. I think most adults have known someone like the JimBelushi character, or the Elizabeth Perkins character. This is one of thefilms that really captures real situations and makes them interesting,something that Mamet is the king of. I’m not a Rob Lowe fan, but here hewas perfectly cast, as was Moore. If you’ve ever been single for anyperiodof time, this is a movie for you.

This romantic drama stars Rob Lowe and Demi Moore, who meet and fall inlove early in the film and then take the viewers on a roller-coasterride of emotions. This is a love story that provides several ups anddowns as it moves through the peaks and valleys of the relationship.Jim Belushi and Elizabeth Perkins provide some humor in interactingwith each other and the two stars. They discourage the relationshipbetween their best friends at times and provide emotional support onother occasions. A romantic film that takes a serious look at both theadvantages and pitfalls of two people in love moving in together.Belushi provides enough laughs to keep the story from becomingexcessively dramatic. In my personal opinion, this movie has been underrated by IMDb voters and could be considered required viewing for youngcouples contemplating a similar situation.

9) I finally got to sit down and watch this movie after soooo many years. Itwas a wonderful movie. Rob Lowe was excellent!!! A real tear jerker.

10) I use to live a block away from all of those meat market bars on RushSt and Division in Chicago!! I spent more time in She-Nannigans than Idid at my apartment!! The bar, She-Nannigans, was used as a location inthe movie "Nothing in Common". What is so funny about this movie isthat the meat market scene is centered around four confused characters,and, inevitably, a relationship manifests itself between Rob Lowe andDemi Moore!! I thought Rob Lowe was excellent in this film. StevenEckholdt was one of the pivotal characters in this film, mostly in themanner by which he was a reflection of the way Rob Lowe use to be!!Steven Eckholdt is very talented and has had a very successfultelevision and movie career!! So many scenes take place inside a barwhich was suppose to be Mothers, a bar which is located on thenorthwest corner of Division St that is open until 5:00 am onSaturdays!! The actual bar which they called Mother Malones, is a barwhich used to be called Gingerman!! The heart in the center of theMothers logo signifies the nefarious gang of mobsters known as MaBarker and her boys!! This was a symbol the mother, Ma Barker, put onthe box of her son's birthday cakes!! This film evokes the entiresordid aura of the Division St scene, including the part about everyonegetting together at Five Faces after the evening of getting drunk untilsickness comes to a conclusion!! Five Faces is a sandwich place thatall of the inebriated dipsomaniacs would congregate at when thedrinking and the ill fated attempts at getting lucky were over.. Why isit called Five Faces? The front of the building has five faces paintedon it!! They are: Lucille Ball, Humphrey Bogart, Elvis Presley, JamesCagney and Marilyn Monroe!! With all the drunks in the place, Sh–Faces is what it should really be called!! The movie "About Last Night"captured the era of the eighties Rush and Division St scene veryastutely!! Bars on Rush and Division were at their zenith in theeighties, and it was a meat market scene which captivated the interestsof people nationwide!! "About Last Night" was a very well made film!Zwick's directing efforts in this movie are very impressive!! DavidMammet is known for plays turned movies which are set in Chicagolocations. In addition to "About Last Night", "Glengarry Glen Ross" isanother Mammet play which became a successful motion picture!! I likedthe movie "About Last Night"!! Division St is a mere shell of what itwas in the 1980's, I was so much younger then, and I was totally intothe thick of it!! Division St has lost a lot of it's sociallyacceptable finesse over the years!! Not that people do not drinkanymore, that is not it!! Right now, I am writing this review with areally bad hangover!! If you get the chance to see this film please doso!! You will enjoy it very much!!

• Joel Grey’s film debut.

2) This film is not bad, but a washed out version of "BROTHER RAT" (1938)thatstarred Ronald Reagan, Eddie Alber and Wayne Morris, three "rats" whoareenrolled at Virginia Military Institute (VMI), a real place. There areneverany freshmen at VMI, they are deemed "rats", and the bond between themusually is a lifelong one.This film is a black and white classic that is fondly screend at VMI, inLexington, to this day.

2) WILLIAM TRACY and JOE SAWYER share the spotlight again in the third,and one of the weakest entries, in the Sgt. Dodo Doubleday series aboutthe man with the photographic memory who gets into all kinds of scrapeswith his army buddies.

This time he crashes a ritzy party sponsored by MARGARET DUMONT (inuniform) but the story doesn't really get into gear until the rowdydate that Sawyer has with VEDA ANN BORG ends up with a free-for-allsmashing of cars and car parts while irate car rental owner (CHARLESLANE) looks on adding up the insurance damage.

It's good to see FRANK FAYLEN and WILLIAM DRESSEL back as bartendersthis time, but nothing saves the picture from being one of the weakerprogrammers featuring Tracy in his Doubleday role. JEAN PORTER adds herown brand of flirtatious and dance crazy teen-ager to the proceedings.Forgettable stuff.

3) To those who noticed and wondered about the change in rank between themovies Tanks a Million and About Face, the actual reason is more thanlikely a Hollywood flub but there is an actual reason if they had amilitary adviser. The rank system at the time of Tanks was the 1920 WarDept regulation, which called for seven enlisted grades 1st grade, wasMaster Sgt. 7th grade Private. the First Sargent was a working titleonly and was grade 6 three up 2 down with diamond. Doubleday had thisrank as he took charge of the Drill Company with Ames being the SecondSargent with only three chevrons, The staff sergeant was a staffposition only and did not have active command of troops. With thechange of regulations in 1942 the rank structure changed to 1st Sgt.being 3 up 3 down with diamond and moved from grade 2 to grade 1. Thestaff sergeant became the sergeant in charge of troops below the TechSgt. Basically the 1SG was the equal of today's Sgt. Major, TheTechnical SGT took over the duties of the Staff SGT and that is whyDoubleday lost a chevron. The Tech Sgt. would become SGT 1st Class in1948 and SGT Major would be seen in 1958 with the creation of thecurrent e-grade system.

4) TANKS A MILLION was the first of a series of comedy features from HalRoach Studios. I had very low expectations of TANKS due to thegenerally poor quality of many of the contemporary Roach products. Thisis because I had already seen, among other films, TURNABOUT, NAZTYNUISANCE and MISS POLLY (all from Roach) and all were, at best,mediocre films due to very broad comedy and slap-dash characters.Amazingly enough, TANKS was a wonderful comedy with great characters,so I looked forward to seeing ABOUT FACE. Unfortunately, in many ways,ABOUT FACE really has more in common with these other films than TANKSA MILLION.

Although William Tracy and Joe Sawyer once again reprise their roles assergeants, so much of the original film is missing. James Gleason, agreat supporting character in the first two Sgt. Doubleday films, isabsent and so is Doubleday's sweetheart. Plus, the balance of theoriginal film is gone. TANKS had a large ensemble cast but in ABOUTFACE, the movie rested squarely on the shoulders of just the twosergeants. And while Doubleday was okay, Sgt. Ames (Sawyer) was soobnoxious, he was no longer funny. And because Ames was such an awfulcharacter, you felt irritated at Doubleday's lack of backbone and itmade no sense why a basically nice guy like Doubleday would haveanything to do with Ames. Any sane person would have ditched Ames along time before the film ended and the trouble Ames created forDoubleday just became tiresome.

In addition to Ames, there was one smaller character in the film thattruly was annoying, and that was the very young lady who kept chasingDoubleday (I think this was Jean Porter). She appeared to only be about14 years-old (she was actually 17), lisped repeatedly (I think this wassupposed to be funny) and her voice was much more annoying and cloyingthan Olive Oyl's!! She just grated on me and I wanted her to just shutup!

The bottom line is that this film lacked charm and lastingappeal–mostly due to lousy writing and unappealing characters.Considering how good the source material was, this is a majordisappointment and is, at best, a time-passer.

PS–Does anyone know WHY Doubleday has dropped rank since the firstmovie? He's missing one of his stripes (taking him from Sgt. 1st Classto Staff Sgt.).

5) About Face (1942)

** 1/2 (out of 4)

Another entry in the Doubleday/Aimes series with this one turning outto be one of the better films in the series. This time out Aimes (JoeSawyer) puts his hatred of Doubleday (William Tracy) to the side whenhe learns that Doubleday has a hundred bucks in his pocket. Aimes takesthe mild mannered Sgt. out for a good time but only trouble follows.This film runs just over 40-minutes and if you've seen any of theother's in the series then you know what to expect here. There'snothing earth shattering or ground breaking in this series but I'vefound them all rather pleasant entertainment and this one here offersplenty of laughs as well. The climax of the film has the boys gettinginto a fight with several sailors and they all settle it by destroyingeach others cars, which makes for some very funny sequences. There's anearlier sequence where Doubleday takes Aimes to a woman's meeting butthe dumb Aimes takes it as some sort of party. Tracy is his usual selfhere but I think the real key of the series is due to Sawyer as thedumb ox who can't stay out of trouble. The two work very well togetherand makes for a nice entertainment.

2):
“About Baghdad” is a documentary. The artist Sinan Antoon returns to Iraq and his native Baghdad, in 2003, along with a group of filmmakers, to conduct interviews with a wide spectrum of the city’s residents, and presents their views on life during Saddam Hussein’s long tyranny, since the 1991 U.S.A. led bombing and invasion of their country, the decade long bombings and sanctions, and the U.S.A.’s subsequent full-scale bombing, invasion and occupation in this new century.

Frances O’Connor as the quiet, bookish Laura and Charlotte Bradley asthe unhappily married Alice will each strike up their own seriousrelationship with Adam. As we see each of the sisters’ stories unfoldit puts a new spin on all that we have seen before. Even Lucy’s brotherfinds himself oddly attracted to Adam while Lucy floats alongcompletely oblivious to all that is swirling around her. Each of thekey roles is performed well and enough time is given to allow us toexplore the motivations of each of these characters. If we didn’treally get to know these people and what drives them, everyone involvedcould come off rather badly, especially Townsend’s Adam. But thedirector makes each character sympathetic enough and it all tiestogether very well.

A clever script, mostly terrific acting, intriguing characters,wonderful Irish scenery and a very smart plot device that adds a uniquetwist to everything…About Adam has a lot going for it. It’s a smart,funny, enjoyable ride.

2) In some ways this is an incredibly refreshing film. In it’s acceptancethatlust and promiscuity are normal facts of life and not something that leadtoa lifetime of suffering and possibly eternal damnation, it’s almost uniquein Irish cinematic history. Seeing a film so free from the historical andreligious baggage that shackles most Irish films can also be a bitdisconcerting, like seeing one of the nuns that taught you in schoolwearinga mini-skirt and fishnet tights.

Set far from the traditional Irish mise-en-scene in Dublin’s trendy TempleBar area, it features Stuart Townsend as a benign Irish cousin to JackNicholson in _The Witches of Eastwick_, who plays on the desires of threebeautiful sisters for his own ends. Far from being a scheming Casanova,he’sa likeable character who does nothing more than tell a few tall tales toaidhis seductive techniques, and who helps people come to terms withthemselvesrather than cosign them to a life of guilt by doing so.

This film is like Stembridges earlier film, Guiltrip, turned inside out.It’s bright, urban-based, modern, and shows signs that Ireland is finallydeveloping a mature attitude to Sexuality.

3) ‘About Adam’ is a male counterpart to Gerry Stembridge’s classic TV drama,’the Truth about Clare’, his innovative film about Ireland and abortion. Inthat film, three characters tried to grope, through memories, prejudices,egotism, blindness etc., the truth about the title character, a pregnantwoman who died following an abortion in England (it is still illegal inIreland); here, four characters try to capture the essence of the elusiveAdam, a jack of all relationships but mastered by none.

A knowledge of Stembridge’s previous, more sober film gives this breezycomedy a darker edge – its tale of a family being given everything theysexually desire is an appropriate metaphor for a society like Irelandcurrently going through an unheard-of economic boom, creating a culture ofextreme self-interest. The dangers of this self-interest are plain to see -a few weeks ago another Stembridge TV satire was aired about Ireland’sracist treatment of refugees.

We have never had this much prosperity before, and we don’t want anyone elsesharing it. Similarly, the last person this film is ‘about’ is Adam. Like’Clare’, the film is structured around the personal narratives of eachcharacter involved with Adam – Lucy (Kate Hudson, and, I’m afraid, the hypefor once is spot-on – she IS adorable), the spontaneous, singing waitresswith a new boyfriend every week, who finally settles down to a ‘greatpassion’; Laura (Frances O’Conner – can there be any doubt now that she isour finest actress?), the pretentious, uptight English post-grad doing athesis on repressed Victorian women writers who is ‘loosened up’ by Adam,her assumptions revealed to be a lie; David, the brother, dating a primvirgin, enlisting Adam’s help and finding himself sexually attracted to him; Alice, the elder sister, trapped in a prosperous marriage to apompous dullard, intrigued by Adam, but unwilling to lose control like hersiblings that easy.

Each narrative is tailored to each witness’ personality (like ‘Dracula’, anironic allusion throughout), in the way each story is shaped; in thestylistic devices employed; in tone; but, most importantly, in theperception of Adam. ‘Clare’, for all its excellence, played to that age-oldmyth, the mystery, inscrutability, unattainability, unknowability of woman. ‘Adam’, the first man, remorselessly documented throughout thousands ofyears of masculine culture, is suddenly the mystery, the woman, the sphinx,the passive black hole.

Adam (which may not even be his name) is the blank onto which the variouscharacters project their fantasies – he is literally what they want him tobe. Naturally, plot points overlap within the four stories, and ourinterpretation of them changes with greater knowledge, but, paradoxically,our knowledge of Adam diminishes, helped by the lies and stories he spinsabout himself. Who is Adam? Besides the obvious pleasure of bedding threebeautiful women, why does he do it? In fact, forget that ‘besides’, that’sprobably your answer.

As well as alluding to his own work, Stembridge cleverly remodels two otherclassics of sexual amorphousness. Like Terence Stamp in Pasolini’s’Theorem’, Adam is a stranger who enters a bourgeois household whereeveryone has a stereotypical role they adhere to, and which Adam smashes,forcing them to review their lives and the assumptions they live by. Thishas a liberating effect, but also a joyful one – this is a remarkablyangst-free film. With his blank good looks, his white suit, and bleachedblonde crop, Stuart Townsend (hi Celia!) is a ringer for the young Stamp.

The other allusion is to ‘Alfie’, that freewheelingly amoral sexual cad,lying his way through a score of beautiful women. Except Adam is theanti-Alfie, he does not humiliate or diminish women, they’re the ones whodevelop; and he lacks the controlling power of narration; but he does limitthem, reducing them to ‘mere’ sexual urge.

Significantly, both these films were key artefacts of the 1960s, and thereis an optimism, a freshness, a vigour, a lightness to ‘About Adam’ thatresembles the swinging 60s, as if Ireland, belatedly, has entered its ownhedonistic decade. Both films, equally significantly, were warnings oranalyses of that decade’s fatal complacency, and in the exhilerating shotsof Dublin that dot the film we cannot fail to notice the looming cranes, thebuilding activity that suggests this story isn’t quite finished, thisculture hasn’t quite reached maturity.

4) Whatever happened to the real Ireland we know so well from all thoseHollywood films of yore? Barry Fitzgerald, or at least his ghost, isnowhere to be seen in this hip little tale. And not a sound from BingCrosby. Nor any nuns nor IRA types nor leprechauns nor prelates seducingaltar boys. I thought "Angela’s Ashes" had brought us up to date on Irishhistory, but, my goodness, just look how things have changed on the EmeraldIsle!

All facetiousness aside, some of the comments written here by Irish viewersare impressively insightful and full of true reflections that could as wellhave been made years ago about life in that tiny country. That this filmcomes out of a modern and progressive (to some extent at least) culture isobvious,and no Irishman need labor over an apologia to that effect. Onemust remember that these same streets were known to James Joyce and JonathanSwift.

As to the film itself, only a fool could take it seriously. It is aone-note "spoiler" from beginning to end, with no true center by way of anintriguing plot. The shifts back and forth in time to suggest multiplepoints of view have indeed been done before in much better films than this. The characters are apt and comely, but with little depth. Romantic comedyneeds an edge, as well as some surprises, to make it go the distance. Everything here is just too likeable.

Hmmm. I guess the same thing might be said of Barry Fitzgerald.

5) Possible Spoilers

Most films about Ireland are about either the Troubles, or the CatholicChurch, or a crowd of loveable, happy-go-lucky rustics, so it comes assomething of a surprise to find an Irish film set in middle-class Dublinwith very little mention of religion and none at all of sectarianviolence.Indeed, there is so little specifically Irish about this film that with achange of accent it could easily be relocated to London, New York or LosAngeles.

The film is told in a number of episodes, each seen from the point of viewof a different character. The central character, Adam, is a handsome,charming young man who is engaged to a waitress named Lucy butneverthelessseduces not only Lucy herself but also her two sisters Laura and Alice andher brother’s girlfriend Karen, and comes close to seducing the brotherhimself.

A plot like this could easily be the stuff of tragedy, but here it istreated strictly as a comedy. Unfortunately, it veers between twodifferentcomic genres, the romantic comedy and the sex comedy, with any humourtheremight be getting lost somewhere between the two. On the one hand, Adam isapromiscuous womaniser; on the other, he is the romantic gallant who winsLucy’s hand. The director and scriptwriter try to get round thiscontradiction by presenting Adam’s behaviour not as exploitative butratheras liberating for the women concerned. The bookish academic Laura, theunhappily married Alice and the prim, virginal Karen are all shown asbenefiting from their sexual experiences, nobody gets hurt, and all endshappily with a big white wedding.

For all its modern urban setting, this film is about as realistic as oneofGrimm’s fairy tales. It is set in a fantasy world where everyone isgood-looking, where jealousy does not exist, where sex (especiallypromiscuous sex) is an unqualified force for good, where a man can bedeverywoman he meets and still end up marrying the girl of his dreams, and whereawoman’s surest way to find happiness is to get laid (preferably by Adam).And leprechauns exist and there really is a pot of gold at the end ofeveryrainbow. If you like urban legends about knights on white chargers (orpaleblue E-types) bringing sexual happiness to womankind, you will love thisfilm. I am afraid it did nothing for me. 4/10.

6) I plodded toward the multiplex against my will, my girlfriend dragging mealong as we went.’…but whyyy???’ I moaned. ‘Shut up with ya, we’re going to see it, ya bigejit!’ my girlfriend snapped. My reluctance to see ‘About Adam’ was basedonprevious experiences of experiencing Irish-made films, they were all thesame – poor little, thatched cottage family living in repressed little ol’Ireland in the midst of poverty – boring! However, I actually reallyenjoyed’About Adam’ – with proper distribution and promotion – this could be ahugehit across Europe and the USA. ‘About Adam’, for a thankful change, showsIreland how it really is – modern, stylish and prosperous. The people inthefilm aren’t weeping throughout the entire film because their potato patchisunproductive, they are just like ordinary, modern Irish people – well, wedon’t all go sh**ging our fiance’s entire family – but other than that it’sreal. The film is very witty and entertaining, if only a little slow atsomeparts. Kate Hudson has a surprisingly good Irish accent and Stuart Townsendis a well-cast star with a bright film throughout the film industry, hereand abroad. ‘About Adam’ is a very positive and encouraging leap forwardforthe Irish film industry and is an example of how more Irish films should bemade in the future – we’re sick of dwelling in the past – it’s the positivepresent and bright future people want to see. ‘About Adam’ bears more of aresemblance to ‘American Pie’ and ‘Road Trip’ than to ‘The Field’ and othersuch films. All in all, a good show. I encourage all, European, American,Australian etc, to see this film – not just because I’m Irish, but becauseit is a genuinely enjoyable, funny movie.

7) One of the few Irish middle-class movies. DVD review.

A man gets intimate with his girlfriend’s family.

Tame, light comedy that won’t appeal to everyone but because it’s setin Dublin I rather liked. I recall seeing Adam’s car parked in DameStreet during filming. Interesting character played by Townsend, he’sone of those people that can’t do anything wrong. O’Connor goesover-the-top in her role as the student. For a romantic comedy it’svery fast paced. Best scene comes at the very end.

About Adam is really straight-to-video material but is enjoyableenough.

On the face of it, it seems a little much that a no doubt sexy guy willattract females like a magnet including three sisters, one of theirbrother’s girlfriend – and the brother – but it could well happen I guess. That in essence is roughly the plot, so if that appeals you’ll probably likethe film – it’s reasonably well cast, adequately acted, nicely filmed andmoves along at a fast pace. But if that plotline sounds too superficial,you can’t stand seeing an E-type jaguar painted pale blue and aren’t overlyexcited by Dublin as a setting, then you’ll probably find it a bit ho hum.The promise of lots of appealing sex scenes will also be disappointing -certainly there is some action in that department but filmed very prudishly. However, Irish films are a rarity so that may be enough in itself to tempta viewing.

9) The reason I say that is because I like the way they give differentperspectives of several different scenes as seen by the different charactersin the movie. I really like Stewart Townsend (he’s one of those adorablepeople that are charismatic not to mention easy on the eyes). This isdefinitely NOT a cinematic masterpiece but I don’t think it was meant to beeither. It was entertaining and THAT’s what I liked about it. Well, that andStewart Townsend but I think I already mentioned that. Didn’t sound likemany people liked this one but I have to disagree. It’s fun, sexy,flirtatious,and comedic all in one movie. Give it a chance and watch itagain or for the first time, whichever the case may be.

10) This film promised a bit more than it delivered. I never laughed out loudand didn’t find it particularly witty. The character, Adam, is intriguing,but in the end, he remains a cipher, lacking any depth or even comedicexploration of character. Perhaps I’m picky, but I also prefer movies thatemploy actors from the character’s country. For instance, hearing KateHudson’s unsuccessful accent attempts threw me right out of the movieseveral times. The real jewel of this film is the all-too-brief performanceof Charlotte Bradley. That she portrayed nuances in character in thisotherwise fluff of a film is remarkable.

We learn about the life of the Girl as she talks about her hopes,dreams and experiences.

Nothing will prepare you for the very shocking ending. It really islike a slap in the face! Or a wake up call…

An excellent piece of writing, directing and acting.

2) I had to see this film twice to truly appreciate it. So many short filmsareBOOORIIING, and I guess I expected this one to be also, so maybe I waspredjudiced. I paid little attention to what was being said so did not getinto the film, but then suddenly I was hit by a real wake-up call at theend. SO, I went to see it again, and I have to say the performance andcharacterisation of the central character IS superb. The actress reallymakes this film a winner. The direction of her is very good, though Ifoundthe photography a little flat, but perhaps this is because it is meant tobegritty and realistic. Overall it’s a wonderful short film, but it dealswitha grim subject. Not a popcorn film.

3) Shocking short-film about a young girl who’s the product of a broken homeand hopeless dreams of being a pop star. Her dad is unemployed and spendshis time playing soccer while her mom struggles to make end meet.

One striking feature of this film was the contrast by the girl’s fullyAmericanized rendering of the pop lyrics she sings and the thick Liverpoolaccent that she uses in everyday speech. (It required me to put onsubtitlesto understand what was being said)

As sad as the life that she describes is, I was still totally unpreparedforthe ending.

4) A working class girls sings Brittany with her friends and talks excitedlyabout her life as she walks along the canal. However her story hints athurts that go deeper than her talk suggest.

This short won the 2001 Bafta for best short film and was directorPercival’s first film after many years in commercials. The film starts witha well framed shot of the girl singing and dancing to a Brittany Spears songbefore going straight into a montage of her talking, hanging out with herDad, on a bus with her friends etc. As it goes this is entertaining enoughand quite interesting. The only weakness of it is that it feels like mix oftwo Fast Show characters – the `Brilliant’ guy and the teenagegirl.

However this is a minor complaint as the ending reveals the meaning behindmuch of her talk and the scenes we see. This really needs to be seen twiceor followed by some thought to appreciate the significance of what has gonebefore the ending.

Thewlis is excellent. Managing to hold the screen well and be totallybelievable in the role. To one who is annoyed by loud teenagers singing popsongs on buses she did well to win me over.

Overall this is not an easy film to think about and does have a scene thatmany people will find upsetting (if only temporarily). While it feelsaimless for most of your first viewing, a good performance by Thewlis ismore than enough to hold the attention.

5) As I was watching it, I kept thinking of the similarities to parts of TheFast Show (aka Brilliant! in the US): the "Brilliant!" walking monologueswith Paul Whitehouse, and Caroline Aherne’s teenage monologues.

But don’t be fooled. There is much more to this short film than meets theeye at first, and you’ll probably want to watch it again.

6) I had to see this film twice to truly appreciate it. So many short filmsareBOOORIIING, and I guess I expected this one to be also, so maybe I waspredjudiced. I paid little attention to what was being said so did not getinto the film, but then suddenly I was hit by a real wake-up call at theend. SO, I went to see it again, and I have to say the performance andcharacterisation of the central character IS superb. The actress reallymakes this film a winner. The direction of her is very good, though Ifoundthe photography a little flat, but perhaps this is because it is meant tobegritty and realistic. Overall it’s a wonderful short film, but it dealswitha grim subject. Not a popcorn film.