People are voting emotionally.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

So what's it feel like when you have such a disregard for your indiscretions and then whamo you get them back fourfold while being open and honest, not assuming to hurt you? How many times have women gone through this in a marriage, relationship, camaraderie? Let's not even start to count!We were supposed to feel sorry for him I guess, but I was happy she found security in a sweet simple loving friendship. Keep reading those inane books about Iceland without any inflection and I would be bored to tears as well. What a moron, perhaps read "Alice in Wonderland" and make it fun with voices and animation cupcake.Julie is truly stunning after all these years after Zhivago and portrays many nuanced emotions well. I have cared for Alzheimer's patients and no one is ever this coherent or wearing adorable outfits.High recommend for getting even with that evil philandering husband back in the day and letting him feel that pain. And for Christie who is still amazing.

Julie Christie's performance should have won her the Oscar, despite the strong competition at the Academy Awards that year. She was vulnerable, she was understated when need be, and she was relate-able. Gordon Pinsent was equally strong and we felt for both of their characters and were on their sides. Sarah Polley had depth beyond her years, and an understanding of a topic that should have been taken on by an older more experienced director (I am the same age as Polley). Had that happened, we wouldn't have had the strong performances, brought on by Polley's direction, nor would the film been as touching and realistic. Cudo's to the producers for believing in her vision and allowing her to take the helm. This could have been a Bergman film, it works on so many levels and really stays with the viewer.

I work with older adults and this movie presents to me, for the first time in memory, a woman who actually WANTS to move into a nursing home.Apparently Fiona has long harbored resentment toward her husband, who took advantage of his position as a college professor to bed many of his grad students. Now the disinhibition that comes with Alzheimer's is freeing her up to leave the seemingly unrepentent Grant.This is a movie about selfishness and loss. First Grant cruelly betrays his wife. Then, 45 years later, he separates her from a man at the nursing home who is easier to love -- uncomplicated, mute, and gentle. Grant does this out of jealousy and a sense of ownership, with nary a concern about how it will affect his increasingly confused wife.Finally she forgets Aubrey, just as she had initially forgotten Grant, and ultimately she is able to hug her husband again. He wins. Yay. Goody for him.In all, this is a rather bleak vision of a disease that is rapidly coming of age.

I read the description of this film, and it sounded like a worthwhile weepy kind of film, I was hoping it would be, and that the actress playing the part would do what was involved well, from debut directing actress Sarah Polley (Dawn of the Dead). Basically the Andersons, Grant (Gordon Pinsent) and Fiona (Golden Globe winning, and Oscar and BAFTA nominated Julie Christie) have been married for forty-four years, and they have been generally happy and loving even with Grant's working as a college professor. Then things change when Fiona develops many lapses of memory, she has been diagnosed with Alzheimer's disease, and is admitted into the long term care facility Meadowlake near their home in southern western Ontario. Grant visits very often, and feels sad that she does not know who he is anymore, but also he sees many other families affected by similar cases. He talks a lot to one of the women who also often visits the home, wife of one of the patients, Marian Barque (Moonstruck's Olympia Dukakis) who watches over her semi-comatose husband Aubrey (Michael Murphy). Aubrey and Fiona have struck up a friendship while in the home, but as time goes by Grant is sure that they are becoming much more than just friends, and the situation is worse with her not knowing their past. In the end, Grant and Marian agree that because their other halves can't communicated with them like they used to, they should continue seeing them and let them go on their new paths. Also starring Kristen Thomson as Kristy, Wendy Crewson as Madeleine Montpellier, Alberta Watson as Dr. Fischer and Deanna Dezmari as Veronica. Christie is of course fantastic at being the sympathetic patient unintentionally creating tragedy, but I agree that Pinsent is crucial as the husband who has to sit back and watch the events unfold, it is poignant, it is dignified and it is emotional, a most watchable relationship drama. It was nominated the Oscar for Best Writing, Screenplay Based on Material Previously Produced or Published. Julie Christie was number 91 on The 100 Greatest Movie Stars, and she was number 24 on The 50 Greatest British Actresses. Very good!