Hard to know where to begin with this one. I think the 'good things' about this film begin and end with its Paris location - though even then, the cinematography leaves a lot to be desired. I think it was about five minutes in before I began wondering: 'how do films as poor as this get made?'.
There was no credibility in the mind-numbing script whatsoever - the lines of female protagonist (Meg) are just dripping with meaningless pretension and the credibility of the film overall is stretched to beyond breaking point with the way Meg speaks to her husband (Jim Broadbent doing his best with the appalling working material).
Meg's childish and anti-social behaviour throughout the film give the lie to this being a 30th wedding anniversary trip. If someone I had been married to for three decades spoke to me in the manner Meg does to her browbeaten husband, I'd be looking at an entirely different 30 years.
This film is so bad it's genuinely offensive. The chattering classes will love it, but if asked, will have trouble explaining why.
To be both boring and offensive takes some doing but Kureishi's script has managed it with ease. Avoid at all costs.
There was no credibility in the mind-numbing script whatsoever - the lines of female protagonist (Meg) are just dripping with meaningless pretension and the credibility of the film overall is stretched to beyond breaking point with the way Meg speaks to her husband (Jim Broadbent doing his best with the appalling working material).
Meg's childish and anti-social behaviour throughout the film give the lie to this being a 30th wedding anniversary trip. If someone I had been married to for three decades spoke to me in the manner Meg does to her browbeaten husband, I'd be looking at an entirely different 30 years.
This film is so bad it's genuinely offensive. The chattering classes will love it, but if asked, will have trouble explaining why.
To be both boring and offensive takes some doing but Kureishi's script has managed it with ease. Avoid at all costs.