Three sisters bond over their ambivalence toward the approaching death of their curmudgeonly father, to whom none of them was particularly close.
Genre: Feature Film-Comedy
Rating: PG13
Release Date: 23-MAR-2004
Media Type: DVDYou've got to admire a movie that embraces womanhood as so few mainstream movies do, and
Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who lack a coherent plan for illuminating their trio of female siblings. Despite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and ! you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film
Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ! ShannonYou've got to admire a movie that embraces womanhoo! d as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who lack a coherent plan for illuminating their trio of female siblings. Despite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Wa! lter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonYou've got to admire a movie that embraces womanhood as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who ! lack a coherent plan for illuminating their trio of female sib! lings. D espite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title)! , becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonYou've got to admire a movie that embraces womanhood as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you've also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who lack a coherent plan for illuminating their trio of female siblings. Despite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Kea! ton plays the eldest sister Georgia, a celebrity magazine edit! or, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties. This is potent material--at least it could have been--and Ryan admirably struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonYou've got to admire a movie that embraces womanhood as so few mainstream movies do, and Hanging Up deserves credit for combining issues of sisterhood and elderly parent care while relying on neuroses to carry its unconventional plot. But you'v! e also got to lament this botched "dramedy" from screenwriting sisters Nora and Delia Ephron (adapting the latter's novel) and director Diane Keaton, who lack a coherent plan for illuminating their trio of female siblings. Despite a sharp focus on Meg Ryan as the middle sister Eve--a capable Los Angeles event planner--the movie never quite seems to know where it's going, and you feel like the best scenes are merely happy accidents. In exploring the foibles of family, Keaton fared better with her earlier film Unstrung Heroes.
In addition to directing, Keaton plays the eldest sister Georgia, a celebrity magazine editor, and Lisa Kudrow is kid sister Maddy, a soap-opera actress who's nearly as self-absorbed as Georgia. They leave it to Eve to care for their declining father (Walter Matthau), a retired screenwriter who slips in and out of lucidity and is, at best, a cantankerous curmudgeon whose estranged wife (Cloris Leachman) has long since severed all family ties.! This is potent material--at least it could have been--and Rya! n admira bly struggles to hold the film together. But it's ultimately a losing battle as the movie, so full of cell phones and disconnected people (hence the title), becomes disconnected itself, offering hollow humor and a few memorable moments with characters whose problems are too minimal to worry about. --Jeff ShannonMothers, daughters, wives, friends: These are the women of The Women. Based on Clare Boothe Luce's Broadway success and the hit 1939 movie, this sparkling update (from Murphy Brown creator Diane English) set in Manhattan and featuring an all-star, all-female cast says a lot about what it means to be today's woman and all of it's funny! The story starts with beautiful, smart, accomplished Mary Haines (Meg Ryan) discovering her husband is cheating on her. It's a time when friends are needed, so Mary's gal pals (Annette Bening, Jada Pinkett Smith and Debra Messing) and mother (Candice Bergen) rally round with advice, cocktails and shopping. The Wife vs. the Other ! Woman (Eva Mendes): Sharpen your claws for a timeless and wonderfully witty battle.For fans of some of America's finest actresses, seeing a film with even one of the cast members of The Women would be a treat. But this remake of George Cukor's famed girl-trouble ensemble film features Meg Ryan, Annette Bening, Jada Pinkett Smith, Eva Mendes, Debra Messing, Cloris Leachman, Bette Midler, Carrie Fisher, Joanna Gleason, and Candice Bergen--whew!--making it a film that fans of these terrifically talented women can savor. The remake may not have the cat-itude or camp factor of the original, but so what? The cast's chemistry really shines; friendship is thicker than water, it turns out--even stronger than the ties that bind women to their men. Ryan is the good-girl Mary Haines, whose husband, she and her friends learn, is cheating on her with the stunning femme fatale Crystal (Mendes, in the Joan Crawford role)--"a spritzer" at the perfume counter. Quelle horreur! T! he other women rally around the hapless Mary, staging interven! tions, o ffering snappy advice, and plotting battles on behalf of their friend. But it turns out that Ryan's Mary isn't quite as fragile as she seems. Gimlets and girl talk--lots of both--go a long way toward getting our heroine through her crisis, and onto a new stage in her life that surprises her husband and more than one of her pals. And the laughs by the appearances of Midler and Bergen, especially, are worth watching the whole film for. --A.T. Hurley
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