Mike Nichols (1) (1931–2014)

What a disappointing film. It's like it never really gets started--or perhaps it just starts in midstream, when Steep spots Nicholson at a wedding. The next thing you know they're married. He's a columnist in Washington, DC and a notorious playboy, although this is never directly shown. She's a food writer in New York City, who dreads moving to DC. Although they're supposed to be head-over-heels infatuated with each other, the actors have basically no chemistry. Streep is not at her best show more playing this type of character. She needs more to work with, like an accent! Nicholson is Nicholson, but it just doesn't work here. Of course, his character strays, but we never see any motivation for it other than that it is just what he does. It's hard to see what this film is trying to say, except maybe, don't get married to a person like that in the first place. There are no real laughs either. The supporting cast is good, Richard Masur (One Day at a Time) and Stockard Channing, and Kevin Spacey makes a brief appearance as a subway thief. But there is just nothing to recommend this movie to anyone. It is hard to see how anyone could have watched it with pleasure or thought it was ready to inflict upon the world. As my wife pointed out to me (repeatedly) after having to suffer through this, you just can't pick a film because of the actors. Repeat it again: You just can't pick a film because of the actors. show less

Closer" is a heavyweight breathtaking drama that rivets the viewer's attention. The characters are not entirely likable, although each is eminently watchable. Director Mike Nichols won the Oscar for Best Director for "The Graduate" in 1967 and has been nominated 3 other times for "Who's Afraid of Virginia Woolf?" (1966), "Silkwood" (1983), & "Working Girl" (1988). Along with films like "Primary Colors" and the TV mini-series "Angels in America," he has an unparalleled ear for dialogue. No, show more it's not particularly pleasant. No, these are not the people your pastor hopes you will be. But each of these characters represent needs and desires that are shared by most people and are as confused by them as are many. Patrick Marber's screenplay adaptation of his stage drama is heart-wrenchingly truthful.

Of the four strong performances here, the most revelatory for me was Julia Roberts' portrayal of American photographer Anna living in London. She is selfish but has a conscience. She takes what she wants, but tries not to admit to it. In the scene with Larry where she breaks up her marriage, it is some of the best screen time of her career. When Larry grills her on the details of her sexual relationship with Dan, her zinger about the taste of his semen, "It's like yours only sweeter" is like a bullet shot from a gun. It recalls the Elizabeth Taylor line in "Who's Afraid of Virginia Woolf?," "You can take it; you married me for it." It is utterly fearless and brilliant. What a raw amazing performance!

As Dan, Jude Law turns is an edgy self-effacing performance that adds to his reputation as one of the great young actors. His scenes with Natalie Portman are enhanced by their similar pairing in "Cold Mountain." On camera, Law is magnetic. As Dan, the writer of the newspaper obituary column, he turns the ordinary into the extraordinary.

Clive Owen is amazing as the strong less-than-sensitive type. His internet sex dialogues with Jude Law's Dan posing as Anna on the computer are as intense as they are manipulated. When he sits in the aquarium with Anna and with tremendous embarrassment learns the truth, he admits, "He certainly can write!" In the scene with Julia Roberts he bellows "I'm a caveman." It seems to typify the heart of "Closer," investigating these very primal sexual urges we have and how they interweave with the emotional attachments we call "love." Owen was nominated for the Best Supporting Actor Oscar for this role and won the Golden Globe Award.

As Alice, Natalie Portman turns in an amazing performance. Her character seems somewhat beyond reach, but she works the territory masterfully, exploring each need and nuance as if it were a beautiful discovery. Portman was nominated for the Best Supporting Actress Oscar and also won the Golden Globe Award.

Damien Rice's song "The Blower's Daughter" is an interesting DVD extra with that riveting chorus, "Can't take my eyes off of you." It's the perfect love song for this film, part pure love and part compulsive addiction. Mike Nichols has worked with an excellent cast and polished this dialogue to perfection. The rhythms build and twist and the lovers attract, repel, trust and betray. It does not so much build to an inevitable conclusion so much as it feels like we've followed the characters through a very intense period of life. This is a film that will be watched and discussed for decades. Bravo! [from Amazon] show less

The DVD cover implies a comedy, but this is quite a serious film involving a struggling actress who has a drug problem. There are some light-hearted moments, but there's also some quite heart-rending dialogue between Suzanne (Meryl Streep, who manages to look fifteen years younger than she was at the time), and her alcoholic screen mother Doris (Shirley MacLaine).

There's an over-charming seducer (albeit with nothing explicit), an exaggeratedly awful grandmother, and a delightful doctor, as show more well as lots of people directing, filming and otherwise involved in the making of some low-budget films.

Very well done, an absorbing film, apparently based on a real account from a book. Rated 15 due to the themes, and also some 'strong' language.

Longer review: https://suesdvdreviews.blogspot.com/2025/04/postcards-from-edge-meryl-streep.htm... show less

In Mike Nichols's hilarious remake of the 1978 French comedy LA CAGE AUX FOLLES, Robin Williams stars as Armand Goldman, a gay cabaret owner who lives in Miami's South Beach with his partner, Albert (Nathan Lane), the club's star performer. Armand and Albert must try in vain to pass as a typical couple when the prospective in-laws of Armand's son, Val (Dan Futterman), come for dinner. While accepting their alternative lifestyle personally, Val demands that they tone it down for his show more girlfriend's (Calista Flockhart) parents--who happen to be a political couple running on a family values platform. Lane's hilarious attempts to "play it straight" and Hank Azaria's brilliantly flamboyant houseboy, Agador, are the highlights of the film, which also features a beautifully understated Williams as the more "normal" of the pair. Gene Hackman and Dianne Wiest are delightfully square as the future in-laws. show less