Am i the only one who thinks........Average?

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

I only give it a 2 instead of a 1 because Julie Christie is always such a joy to watch.The problem is, you can't figure out what is going on much of the time. Plot lines seem to make no sense. Example: at the end, Christie is crying. Has her daughter died or not? That is never made clear. If not, what is she sobbing about? Then there is the scene where Christie tries to seduce husband Nolte. She is attempting to repair their marriage. It is not clear why he rejects her, he seems to love her and it was she who had called off their sex life, not he. There is no discussion of this event afterward to clarify things.Characters throughout behave in ways that seem very unlikely and you can't figure them out. If a movie is going to be this surreal and confusing, it should be funny or suspenseful. This is neither. The Jonny Lee Miller character is peculiar beyond belief and that is never resolved. You can't figure him out at all,even at the end.Enough said, avoid this movie. You can see Christie in Away from Her, a far superior film.

I just watched this movie, and it has become one of my favorites. It takes great amounts of talent and a sensitive spirit to make a gripping, involving narration of something as common as two married couples with communication, emotional and sexual problems -but Alan Rudolph not only manages to do this, but offers us an absolutely perfect narration, filled with beauty and a sensitive and compassionate look on some of the most common human weaknesses, mistakes, wishes, and dreams.The movie introduces us to two couples: the middle-aged Manns, Lucky (Nolte) and Phyllis (a sublime Christie), and the in-their-thirties Byrons, Jeffrey (Miller) and Marianne (Boyle). The former are working class, and the latter are well-off. Both are in the middle of a crisis, due to different reasons, but parenthood and their sex life (or lack thereof) are some of the most obvious. Basically, the movie lets us have a look into each of the characters' desires and dreams, what they want out of their marriage and of life. Logically, the older couple has more regrets about the past, and each of the younger partners is more looking forward to a better future. The four people will become involved with each other in different ways, all full of potential for something better... or for disaster.All in all, the story is easy to follow and, although calm, it is never boring; all of the scenes reveal something important about the characters. Like some other commentators said, Rudolph has an especially good understanding of the female mind, and he is an admirer of the female beauty -he brings out the best, most beautiful and most admirable in Lara Flynn Boyle and Julie Christie, but also of other supporting female characters.The movie isn't as predictable as one might think, it isn't merely a story of dissatisfaction and relationship problems, and it has a few surprises in store for the viewer, but nothing too extravagant or hard to believe. It is, ultimately, a finely crafted parable of the loss of passion -for life, for love, for our dreams and aspirations- and how it is possible to get it back.I would recommend this movie to anyone. My rating is 10/10.

I saw the movie for a second time, 5 years after the first viewing, and realized that this is not a movie to view casually on a tired evening. My initial assessment was that Julie Christie and Nick Nolte were arresting in a movie with some clever camera-work by Toyomichi Kurita assisted with some interesting music by Mark Isham. Period.The second, more-attentive viewing allowed me to savor the intelligent script and unusual direction of Alan Rudolph. The script is remarkably close to Edward Albee's "Who's afraid of Viginia Woolf"—-both have two sets of couples, each set a generation apart, the older one ruing the loss of a child.Rudolph presents a script on sex without sex though peppered with wit that could make Noel Coward pale in comparison. For example: "I'm Jeffrey Byron III. There won't be a IV. We Byrons quit when we get it right." Or "I did notice your wedding ring!" And the response "It's removable!" The wit is not obvious—I missed much of it on the first casual viewing—unlike the name of the lead character "Lucky Mann," married to an attractive actress who is can be acerbic with her very attractive aging handyman husband as she smirks "How was work today, Lucky? Unclog a few tubes?" The film is not propped up by the Shawian script alone (interestingly Director Robert Altman is the producer), but Director Rudolph extracts fascinating performance from top four actors who are thoroughly believable. The anguished cry of Julie Christie is the key to the film that transforms Rudolph's script from clever humor to mature tragedy. It is this cry that makes you reevaluate the entire film, why Jeffery (Jonny Lee Miller) balances on roof edges, why Phyllis' (the mesmerizing Julie Christie) "soul needs an overhaul", and why Rudolph allows Kurita to make his camera do a cartwheel at several points in the film. Clever, Mr Rudolph, but how many will have the patience to savor it all.Finally, Rudolph has successfully brought out the incredible charm of Julie Christie and the potential of Nick Nolte as actors. It is a pity Christie missed a second Academy Award!

I saw this movie and very thoroughly enjoyed it. No, it was not realistic, no, it was not stellar acting, or serious story. It was exactly what it bills itself to be, a romance-comedy. This movie is good escapism. If you need a smile, or just to sit back and relax without getting all overly engrossed in a movie, this is a good one to pick.