Sony Pictures Classics | Release Date: December 26, 1997
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lasttimeisawJan 19, 2012
This immoral and involuntarily couple-swapping modern-day allegory has its conspicuous foible to cater for a wider demography, a self-consumingly pitched battle falls unfulfilled, one can feel the highly-contrived scheme runs amok at theThis immoral and involuntarily couple-swapping modern-day allegory has its conspicuous foible to cater for a wider demography, a self-consumingly pitched battle falls unfulfilled, one can feel the highly-contrived scheme runs amok at the latter part, and the films ends in an emotional gratification which is too Utopian to be credible to believe. The film garners a third Oscar nomination for the divine Julie Christie (after a 26 year hiatus since MCCABE & MRS. MILLER in 1971), whose role is the thorniest among the two pairs, and the film's pathos concretely hinges on her crack knack to embody the old lady who has her personal magnetism to fling with a frigid and wealthy pretty boy (only half of her age) at a convincing ease. Julie gracefully accomplishes her mission meanwhile Nolte, Miller and Boyle are all in solid shape to enliven their characters with ample credibility, although the thunder remains to belong to Ms. Christie. The central trauma orbits a childless status quo, which both couple yearn to alter, Christie tries to find her daughter back (who has deserted her 8 years ago after overhearing a hidden truth); while the bourgeois young wife Boyle is in eager to get pregnant when his sexually glacial husband refuses or is unable to commit the task. The mirror reflection has been exerted as a recurring gambit in the film, and the not-so-often witty wisecracks could be derived from director/writer Alan's strenuous endeavor on the script. Overall this low-budget marital vignette delivers a dramatic thesis on the lust-harvesting adult world with less-than-eloquent material and theatrical mechanics. Only Julie Christie exhibits a satisfying portrayal to deserve the time and dime we proffer. Expand
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