This film, the directorial debut of Nora Ephron, is a very interesting film that has a strong opening and a good ending, but goes a bit astray in the middle.
The dialogue is very sharp and witty, and there are many lines that are some of the more pointed ones in Ephron's filmography (she cowrote the film with her sister from a book by Meg Worlitzer). Julie Kavner is ideal as the mother turned stand-up comic, Samantha Mathis convinces as a sullen teenager, and young Gaby Hoffman is utterly charming. Their utterly convincing mother-daughter dynamic as the film opens is enthralling and compulsively watchable, and the early scenes kept me with a smile plastered to my face.
Problems arose a bit in the middle when Kavner's character went off on a comedy trip to LA, and as such was mostly absent from a section of the film. But then came the big misstep. Most of this movie feels like this type of film that mothers can watch comfortably with their teen and tween daughters, and then all of a sudden is an admittedly funny *(through its sheer awkwardness), but surprisingly graphic and extended teen bedroom scene that seems to have drifted in from an entirely different film. As this is the first (and last) scene of that type in the film, it throws things into a precarious state for a while, because this is not the type of film that seemingly gave any hint of heading that way.
But to the film's credit, it does get back on track with closing sequences that might be expected, but they do ring true, and give all three leads time to shine. They also feature some fresh material for Caroline Arron, and a funny disagreement scene between Kavner and Dan Aykroyd over it's a Wonderful Life.
What makes the movie worth watching is its honest look at the type of sacrifices that happen when somebody hits the big time, its three wonderful performances, and also that it gives Kavner a rare leading part which is nice to see. There are also 3 pretty good Carly Simon songs to top things off, so while not a perfect film, it is worth a look.
The dialogue is very sharp and witty, and there are many lines that are some of the more pointed ones in Ephron's filmography (she cowrote the film with her sister from a book by Meg Worlitzer). Julie Kavner is ideal as the mother turned stand-up comic, Samantha Mathis convinces as a sullen teenager, and young Gaby Hoffman is utterly charming. Their utterly convincing mother-daughter dynamic as the film opens is enthralling and compulsively watchable, and the early scenes kept me with a smile plastered to my face.
Problems arose a bit in the middle when Kavner's character went off on a comedy trip to LA, and as such was mostly absent from a section of the film. But then came the big misstep. Most of this movie feels like this type of film that mothers can watch comfortably with their teen and tween daughters, and then all of a sudden is an admittedly funny *(through its sheer awkwardness), but surprisingly graphic and extended teen bedroom scene that seems to have drifted in from an entirely different film. As this is the first (and last) scene of that type in the film, it throws things into a precarious state for a while, because this is not the type of film that seemingly gave any hint of heading that way.
But to the film's credit, it does get back on track with closing sequences that might be expected, but they do ring true, and give all three leads time to shine. They also feature some fresh material for Caroline Arron, and a funny disagreement scene between Kavner and Dan Aykroyd over it's a Wonderful Life.
What makes the movie worth watching is its honest look at the type of sacrifices that happen when somebody hits the big time, its three wonderful performances, and also that it gives Kavner a rare leading part which is nice to see. There are also 3 pretty good Carly Simon songs to top things off, so while not a perfect film, it is worth a look.