Too much of everything

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Tamara Jenkins' breakthrough indie drama-comedy THE SAVAGES, surprisingly captured 2 Oscar nominations back in 2008 , one for the unmistakably excellent Laura Linney and a BEST ORIGINAL SCREENPLAY nomination for herself, so freshly coined as an Oscar nominee and subsequently granted the membership of the academy , allegedly her next project should be on the horizon at any time, nevertheless, as a telling manifest of the shameful situation of female directors in the movie industry, 8 years has passed, we still have no news of Tamara's follow-up to her excellent work, a life-affirming dissection of the worst-case scenario for (almost) every grown-up - how to fulfil our responsibility, when we must become the caretaker of our aging parents during their last days. Linney and the late Hoffman are siblings Wendy and Jon Savage, she is an amateur playwright and he is a college professor, so both are intellectuals and unmarried, reaching 40, Wendy is still stuck in a dead-end extramarital affair with Larry (Friedman), a 52-year-old married man, who is jollily content with the status quo. Jon, her elder brother 3 years senior, on the other hand, is ending a three-year relationship with her Polish lover Kasia (Seymour), whose visa is about to expire and he has no intention to marry her. If one is solely reading those background information on paper, both Wendy and Jon are not personable characters. Besides, they are not so close to their father Lenny (Bosco, in his fine but irritating persona as a curmudgeon), who is not protected by Common Law Marriage after his long-time girlfriend died and himself is afflicted with dementia and an ailing health, so now it is now the siblings to take care of their deteriorating father. Neither or them can afford to attend to Lenny by themselves, thus some grating words like assisted living, nursing home or rehabilitation centre are dropping by as default, but Lenny is not exactly a mellow old geezer, the film opens with his stomach-churning fecal revenge as one might expect in a slasher horror, the parent-child rapport is never the aim to be soppily achieved by Jenkins' sincerely matter-of-fact script. More importantly, under the dysfunctional family troupe, the storyline steadily builds a re-connection between the two siblings, from the unspoken competition for grants, the guilt-shifting mind-game, to a tacit feeling when Lenny eventually drops dead peacefully, this is what is happening everyday to ordinary people, no "how could this happen to me!" overcompensating drama or "I can't believe it!" emotional wreck, Jenkins is act of genius in singling out the golden touches out of a real-life scenario, and the unexpectedly rosy ending brings about so much hope using just a little gesture, one single scene, to cogently affirm her talent in theatrics. It is no wonder that both Philip Seymour Hoffman and Laura Linney represent the elite of their peers in Hollywood, together, they are so harmonious with each other's presence while their differences in personality are potently exhibited through their interactions: he is pedantic, aloof but sensible, she is more emotional, ambivalent in her life orbit, and a tad naive, both tainted with some snobbishness from their sophisticated literature background. Their dialogues are spontaneous but scintillating with bons mots and when there are no words needed, the coordination between them can be equally enjoyable to behold. As my said statement, they are not quite likable at first glance, but our judgement will evolve with the story development, when we cruise into the coda, we can all more or less identify ourselves in them, these are two sterling performance equipped with blood and flesh, but as always, LEADING ACTOR race is so packed in 2007, only Linney pounces into my Top 10 LEADING ACTRESS chart, also it is a cruel reminder for me, another superb Hoffman's performance has been crossed out from my watch-list. Finally, I must hail unyieldingly for this under-appreciated indie fare, it enlightens us enormously in how to be a good person, a good son/daughter, and how to correctly face our filial responsibility without being overwhelmed by our own senses of guilt and fear, also hope soon there will be some scoop of Tamara Jenkins' next project, an eight-year gap has already been criminally too long.

Not to be confused with the 2013 Oliver Stone movie "Savages", 2007's "The Savages" stars Philip Seymour Hoffman and Laura Linney as brother and sister dealing with their aging father. The story is all too familiar to some as the baby boomers continue to age it's up to their children to care for them. The film is written and directed by Tamara Jenkins in a very honest and sincere way that will resonate with many people.We start out in the warm and sunny senior utopia of Sun City, Arizona. Lenny Savage, played by Philip Bosco, is the elderly antagonist in a story that starts out with a "bathroom incident". Not to long after that his girlfriend of many years literally drops dead. Since he was living with her and her kids can't stand him he is kicked out to fend for himself. His daughter Wendy Savage lives and works in New York City as a struggling author and playwright who is having an affair with an older, balding, and more importantly married man. Her older brother John Savage lives in Buffalo, he writes, teaches, and has PhD in philosophy. Both sibling are single and muddled in mid life crisis territory when they receive a call to come and do something about there estranged father. Lenny was a terrible father and their mother left the family when they were little, so it is quite amazing to see how relatively normal Wendy and John turned out. They meet at Wendy's place, then board a plane to Sun City.Lenny has dementia and is pretty dependent on others so they make the big decision most people dread. They have to choose a nursing home were they prey on peoples guilt. Wendy asks John "Are we horrible people?" They each deal with things in their own way. Wendy feels enormous guilt, while John can only think of what his father did to him as a child. Can he forgive the abuse? Are they doing the right thing? "The Savages" is also darkly comedic. The indignities of getting old and the many awkward moments that ensue. While bringing Lenny back to New York, they have quite the embarrassing moment on the plane. Later on at a coffee shop they have a very tough and awkward conversation about what to do with him when he eventually dies. The film is a rare and realistic approach to death and how it affects the living. It forces Wendy and John to get together and work out there problems which eventually brings them closer together. Philip Seymour Hoffman's performance earned him the Award for Best Male Lead at the Spirit Awards, while Laura Linney nabbed a Oscar Nom for best supporting actor. Tamara Jenkins also got a nod for best screenplay.

The Savages is a very nuance and quiet little film about the journey of two siblings in taking care of their father. It is very well-made, with great cinematography and use of lighting, and the music score is very limited and quiet and only used in poignant scenes. It is very much a character film and study. Both Laura Linney and Philip Seymour Hoffman have great chemistry and deliver two great performances representing their flawed characters. I am surprised at the label as a comedy though. I did think it had a few moments of subtle humor but I wouldn't call it a dramedy at all, and for those expecting an indie film that balanced both drama and comedy in a Juno type of way will probably be disappointed. Instead, The Savages relies in the smooth direction, good writing, and great acting to deliver it's message.

This is one of those ostentatiously quiet films and how much you enjoy it will depend greatly on how much you appreciate the lovely and talented Laura Linney.The crux of the story involves Wendy and John Savage (Linney and Philip Seymour Hoffman), two prematurely middle-aged siblings suddenly forced to care for their somewhat decrepit and dementia-ridden father (Philip Bosco) after years and years of separation and silence. The plot is really just an excuse, though, to put Wendy and John on display as examples of early 21st century pseudo-adulthood.Wendy is a 39 year old woman with a Masters degree in Fine Arts who still works as a temp, shuttling from one cubicle to another to pay the bills while she fancies her real destiny is to be a playwright. She doesn't like the fact that her situation doesn't reflect what she hopes her talent is, so she self-medicates and lies to others and herself about how her life is going. She's also having an affair with a married man, but she loves his dog far more than she cares about him.John is a 42 year old literature professor who teaches class at a small college in Buffalo and is trying to write a book on Bertolt Brecht. He's completely alienated from his own feelings and lives like he's isolated from the rest of the world. His girlfriend of several years is having to move back to Poland because her visa has expired. She wants to marry John but he refuses, telling Wendy it's because he's afraid she wouldn't be able to get a job in Buffalo. The one thing John does have is his belief that he's smarter than his sister and he doesn't react well when Wendy tells him she got a Guggenheim grant, something he's tried repeatedly to get and failed.The movie is almost entirely focused on how these two people handle this particular situation at this particular point in their lives. It never really goes into their past and how and why Wendy and John got to be the way they are. It never details the extent or nature of their poor relationship with their father. There's only an offhand reference to their mother, and we get only the smallest glimpse of how Wendy and John actually function in the world.The Savages is a comedy but not one that's trying to make anyone laugh that hard. It's almost Seinfeldian in its focus on the humor of the uncomfortable, the awkward and the embarrassing. There's not a lot of "ha ha" funny stuff in the film. It's more like real life where God has written a few more gags into the script than normal.Linney has the biggest role and the most fully realized character and if you enjoy watching her perform, The Savages is quite pleasant. Hoffman is good, but he doesn't have much to do and while the story of grown kids having to take care of their ailing father and reconnect with him has some emotional kick, it never gives you enough about them and their relationship to make you care that much. The film admirably resists being too pretentious, but slides into being too ordinary.Linney is very good, though, and if that sounds like enough for you, The Savages won't be disappointing.