There are better movies of two hours length. I loved the actress'performance.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Richard Dreyfuss and Judy Davis shine in this contemporary story of a couple whose marriage has literally gone astray, part in fact due to the infidelity of both partners and the fact that their eldest son was killed in a car accident 8 years before.Davis looks like she has really gone through the ringer here. As the emotionally distraught, she depicts an emotional and psychological hang-up which is certainly memorable. She is equally matched by Dreyfuss, who also pulls no punches as the husband.They plan to end their marriage by going out to Los Angeles to attend the wedding of their surviving son and making important stops along the way. These stops are memorable as they depict the sudden demise of the co-writer, wittingly played by director Paul Mazursky. There is also the daughter, not married, pregnant girl who has broken up with the baby's father to only start a new relationship with a basketball player.This is definitely a poignant story brought to the screen by great performances as well as a sharp dialogue.The musical score is wonderful here.

This is certainly an enjoyable movie with some very sharp witty remarks scattered throughout the dialogue.The main criticisms I have are:1. The awful music score. It sounds as though it was put together on a cheap and nasty electronic keyboard. It grated on me throughout the film.2. Some of the longer scenes of two people talking to each other were just too long. A cut-away or two would have relieved the tedium. Yes, the 'conversations' were, in the main, very relevant to the plot, but were just too long. A few more snips with the scissors in the editing room would not have gone amiss.3. Those infernal maps! Ugh! They lent a real 'cheap and nasty' air to the movie, which was a pity.As far as I'm concerned, the 'test' for a good movie is whether I will watch it again or not. This one scores scores a definite 'maybe'.

My wife and I discovered this movie (accidentally) when TiVo recorded it for us. We noticed the great cast so decided to give it a try. It had us captivated right from the start. No formula TV movie here. Coast to Coast is refreshingly original; doesn't neatly fit into any particular genre. It was both very funny and emotional, yet felt true-to-life.This is a movie made by intelligent people for intelligent people. We particularly enjoyed the witty dialogue and the wonderful characters Dreyfuss and Davis meet along their journey. These are two great actors at their best.Lately, it seems that good movies are few and far between, so this was a real treat for us.

It was inspired casting in the pairing of Richard Dreyfuss and Judy Davis as Barnaby and Maxine Pierce, a middle-aged married couple on a trek by car from the East to the West coasts. The ostensible purpose of their auto trip is to attend their son's wedding in Los Angeles. At the same time, the couple is contemplating a divorce and is still in recovery from the death of one of their children many years ago. The film reaches for over-the-top comedy in the couple's cross-country reunion with old friends and lovers while simultaneously expressing a painful undercurrent with the couple's long struggle to recover from their personal tragedy.The film juggles the comedic and dramatic styles with uneven results. The best scenes are the comic escapades, such as the visit to Minneapolis where the parents greet their daughter (Selma Blair), who introduces them to her latest fiance (John Salley) and announces that she is carrying another man's child. When the banter is brisk and lively, Dreyfuss and Davis are in fine form, recalling Hepburn and Tracy in "Guess Who's Coming to Dinner?"But when the mood turns downbeat, the actors flounder with dramatic material that does not ring true to their characters. For example, it made no sense when the couple visited Denver and Davis' character Maxine was reunited with her ex-lover. There was even the suggestion that Maxine might remarry the Denver cop (Fred Ward) whose character is not only married, but is frighteningly abrasive. It was implausible that someone with the intelligence of Maxine would find any appeal in an unpleasant character with a hair-trigger temper. It was puzzling as well that the two adult children of Barnaby and Maxine seemed wiser than their world-weary parents and were all-too-ready to provide grief therapy. In any family system, those two children would need to deal with the loss of their sibling, just like their parents.The careful balancing of a comic style with a tragic undercurrent was achieved brilliantly in Edward Albee's play "Who's Afraid of Virginia Woolf?", which deals a couple's presumed loss of a child while concurrently delivering the dark humor. "Coast to Coast" stretches, but falls substantially short of Albee's powerful style. In a single sequence in the L.A. portion of the film, Barnaby first insults his son's female boss in a hotel lobby; the boss subsequently forgives Barnaby unconditionally when she learns that he is the father of her employee; and, in the next scene, Barnaby is openly weeping in a restaurant, causing the other patrons to gawk at him. Are these scenes supposed to be funny or serious?The emotional roller coaster ride stretches credibility due to the weak dialogue, which, in this film, resembles slapdash sitcom writing. And it was especially disappointing in the film medium that there was not more footage of the colorful locations of the cross-country trip (other than a recurring map of U.S.A. shown to the viewer), as Barnaby and Maxine forge their way across the country. There was never a dull moment on this coast-to-coast trip. But the ride was bumpy and uneven.