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Eleven articulate people work through affairs of the heart in L.A. Paul produces Hannah's TV cooking show, and they must move beyond gentle barbs when she wants to know about an affair of his years ago. Mark is dying of AIDS, and his mother comes to his bedside: they must talk truthfully. Men have scalded Meredith so she rebuffs Trent's charm, but he persists. The trendy, prolix Joan tries to pull the solitary Keenan into her orbit: why is he reluctant? An adulterous couple meet at hotels for evening sex, but she is unwilling for the relationship to grow. Hugh tells tall tales, usually tragic, to women in bars. By the week's end, their parallel stories converge. Written by
Most of John Barry's score was replaced with a new score by Christopher Young. Barry's credit on the film was retained, however, and a CD was released with Barry's largely unused score. See more »
Up until the end of the movie Angelina Jolie doesn't have her dragon tattoo on her left arm. When all the couples meet for their parents to renew their vows you can then see that she has a red saran wrap heart on her left arm. See more »
You know, I never knew what happiness was until I married your mother. And by then it was too late.
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The opening scenes introducing the major characters list their character names with subtitles, but not the actors/actresses who are portraying them. See more »
People need to watch movies with their mind as well as their time
I was quite impressed with the entire presentation of the film. The characters were well developed, individual, and full of potential and humanity. The relationships were actual and realistic, a wonderful break from the Fantasy of Sleepless in Seattle (or You've Got Mail, pick the title you want). The presentation of people with problems and realistic responses to these problems and the people who are affected by these problems really makes this movie more than a past-time; it is a gift, showing us what we are and what we can become with some work and maybe a small paradigm shift.
Everyone did a wonderful job of presenting real people, Sean Connery found a role which allowed him to be his age but not loose that which he is loved for: sinful good looks and flawless composure. Gillian Anderson was so good that by the end I had almost stopped waiting for Molder to arrive. But for me Angelina Jolie was the centerpiece, as she showed the greatest degree of development and growth, epitomizing the struggle that each person was going through.
To me, the plot was a lot more complicated than just the feelings that develop from watching the movie, and the depth of perception is honestly presented in the comments of the other reviewers; most seem to have watched the movie with so much intensity that they got up 35 minutes into it to go and tell the popcorn boy to give them a new bag because they had specifically asked for NO butter. This movie is cognitive to the degree it is affective. It takes one relationship and divides it up into several stages (seen as the family members' relationships), and in doing so it allows us to see relational development in ways we normally can't, just as we repeatedly see the time of day change against the buildings.
It is funny, it is romantic, but it is true. And I am thankful for its gift of sight: into life, into death.
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