People are often disappointed in the ones that love them or the ones that they love. This disappointment can stem from the mistakes made by parents in the upbringing of their children, or perhaps the simple differences that separate family members. It is this frustration that plagues Christian Bale's character, Sam, in the film `Laurel Canyon.' A well-made character study, `Laurel Canyon,' explores the reasons for the distress and resentment that can reside between parents and their children. `Laurel Canyon' is about a man named Sam (Bale) and his fiancé Alex (Kate Bekinsale) who move to California so he can begin his medical residency at a local hospital and she can finish her dissertation. The pair moves in with Sam's mom Jane (Frances McDormand) who is record producer who lives on Laurel Canyon Road in Hollywood. Although she is in her mid 40s, she lives the life of a rock star, smoking pot, drinking, partying, and hanging out with her rock star boyfriend Ian (Alessandro Nivola), who is 16 years younger than she. Sam and Jane are always at odds with each other as he is ultraconservative and Jane is like a teenager. The two must weed out their problems and come to terms with each other about the mistakes that Jane made while bringing up Sam. Although a bit slow at times, `Laurel Canyon' was an interesting film that has its lighthearted and touching moments. It's funny to watch the subtle changes that begin in the characters lives. Alex, although conservative like Sam, is slowly being drawn into the free spirited world of Jane's home, with her parties and rock friends always around. Sam is being tempted by the fruit of another woman named Sara (Natascha McElhone), as their share their sexual desires with each other over private conversations in a car. And even Jane is beginning to recognize her own faults-she had several lovers throughout her life is starting to feel the need to settle on just one, Ian. Every character starts to understand that they are all the extreme end of different spectrums and they must learn to meet somewhere in the middle. The acting in the film was excellent. Every actor was believable and to a certain extent, the audience can feel their pain and happiness. McDormand (`Fargo') and Bale (`Empire of The Sun') steal the show with their amazing abilities to transcend the characters in the script to the dynamic people they present on the screen. Praise must also be given to Bekinsale (`Pearl Harbor') and Nivola (`Jurassic Park 3') for their exceptional performances.

One other superior quality of `Laurel Canyon' was the music, some of which was sung by Nivola. The soundtrack holds a great deal of classic rock songs from groups such as `Steely Dan,' `Leroy' and `Mercury Rev.'

Overall, `Laurel Canyon' was a very good movie that reminds its audience to look beyond the surface of things and to see what really matters in all relationships-love. ***

If you like being smacked in the face and having characters who behave in emotionally "traceable" ways (i.e., whose motivations are apparent as soon as they act), you won't like this film but what a joy it is to watch a film unfold in layers, slowly, subtly, un-rushed, in a way that most American films don't allow, too much in a rush to get to the next "plot point" and too obsessed with big dramatic turns. Audiences have to be fed such things, constantly, or they'll lose interest, right? Wrong, I hope. And, Laurel Canyon makes the point better than a debate ever will. This is a remarkable piece of tapestry in muted tones and hues, populated by complicated, confused, uncertain, searching people. And, they change. But, they change by degrees, not by full turns of the wheel. Kate Beckinsale should watch this film over and over, and get out of the Spandex and Leather of the comic book films she's been doing. She and Frances McDormand are as real as any two actors you'll ever see on film. There are a couple of possible story "cop outs" in this film, which we won't mention because they'd spoil the story. But, in the end, they might not be cop-outs at all. They might be preferable to answering all the questions and delivering us from the theatre all neatly reconciled and sent off to coffee and desert. Good for you, Lisa Cholodenko. A brave choice and a fine film.

In this film, currently playing only the arthouse theaters, Christian Bale brings his fiance (Kate Beckinsale) to L.A. to live in his mom's house temporarily while they try to find their own place. His mom however, is a free spirited record producer prone to wild parties and doping... and is also sleeping with the lead singer (Alessandro Nivola) of the band she is producing. Frances McDormand plays the mom and is terrific in the role, as she shows that she loves her life and does care about her estranged son, even as she winds up seducing Beckinsale's character into her lifestyle. The cast is great, the location work in Laurel Canyon is terrific and the characters are all interesting people. My only gripe would be about the ending, or lack thereof.. the film just kindof ends without a resolution. GRADE: A-

This is an insightful and truly under-appreciated film. And, as anyone who has lived in the Hollywood/ West Hollywood area can attest, the film is also a very accurate portrayal of LA life in the biz. Bale and Beckinsale shine as well. Definitely McDormand's best work outside of "Fargo"; her versatility and talent continue to amaze and impress. The producers' choice of music is perfect and truly reflects the mood and tone of the film--it makes me want to go out and buy the soundtrack. :) Also, "Laurel Canyon" shows how frail and tenuous life's relationships can be. By straying from the "norms" of his serious, medical student world, Bale understands his mother's complexities and foibles and thus establishes the bond with her that he has possibly sought all his life. Well done!! *** 1/2

"Laurel Canyon" is a story about 'family'. The grown son (Christian Bale) of a record producer (Frances McDormand) ends up bringing his girl friend (Kate Bekinsdale) to California. They expected to stay in his mother's empty home while he worked at a psychiatric hospital and she worked on a thesis. Due to a schedule change, his mother is still in the home when he and his girl friend arrive. It is obvious that there is substantial tension and resentment on the son's side of the relationship. He feels his mother was not a good parent and that she is irresponsible, and she is still living the carefree and wild lifestyle she has always lived. His curious girlfriend is drawn into the lives of his mother and her boyfriend (Allesandro Nivola), with the potential for disastrous results.

Frances McDormand does a fine job as the mother. Christian Bale and Kate Beckinsdale are also good as the young couple. Allesandro Nivola is entertaining as the mother's current lover. This is a nicely done film. However, something seems a bit flat and the story line doesn't pick up as much steam as a good drama should. It tends to have a 'so what' mentality about the immorality taking place, and the result is that the impact of the film is minimalized. Christian Bale and Frances McDormand have a poignant scene at the end of "Laurel Canyon", but again the film strangely mutes the power which the actors imbue their characters with.

I'd rate this film a 70/100. Fans of the actors involved will enjoy seeing their favorites on the screen, but others will most likely be a bit disappointed by this movie.

I saw this film at the Miami International Film Festival and was thoroughly absorbed and entertained. I don't know if it will be as successful as the director's much-lauded "High Art" from several years ago; "Laurel Canyon" is not as serious, though it does explore some of the same themes. All of the performances are pitch-perfect. I suspect audiences will especially enjoy and identify with Kate Beckinsale's character: a studious and sheltered young doctoral student who takes to the hedonistic Los Angeles lifestyle in a big way. Frances McDormand and Christian Bale are also wonderful.

Music is almost another character in this film; it pervades the atmosphere. The music, by such artists as Mercury Rev and Clinic, complements and underscores the dynamics between the characters. It's been awhile since I've seen a movie with such an intoxicating sense of place as well: whether accurate or not, Los Angeles is portrayed as a sybaritic wonderland. The film revels in the sensuality and freedom of this rarefied realm, and it's intriguing to see the effect on the young couple.

When Frances McDormand's music producer character asks Alex her opinion on the record she's producing, Alex declines, saying she doesn't know much about popular music. McDormand responds, "Follow your instincts. It either pulls you in or it doesn't." This movie pulled me in.

I really enjoy reading other folks reviews of films I have seen. It is interesting to see how personal perspective is, well, personal.

I have been a paid critic in the past and have often explained to folks that opinions are just that, opinion. So I will endeavor to explain my case for this fine film.

This is a story of a journey. It is not the journey the characters think they're taking. It is the odd place they go on their way to what they thought they wanted. In that way, it is a lot like life.

You have the fish out of water aspect. A young couple wonders into his mother's life. A life he has never appreciated or enjoyed. His girlfriend, on the other hand, seems primed for the hedonism she encounters.

The mother (played to amazing life by Frances McDormand) is a record producer with a successful business life and a spotty personal one. She's in the midst of recording a record when her son descends. But it is the young man who fronts the group she's producing that has both her and her son's girlfriend in a lather.

There are emotional affairs flying about. There is moral condescension from characters who've been less than honorable.

On top of a good to great cast of principal actors, there's the soundtrack of flat-out great music.

Well directed, admirably cast, with an ambiguous and thoughtful script, plus enough sexual tension to fuel a score of teen comedies. Great flick. Bring your moral compass, and your ears.

Laurel Canyon deals about the adversities you have to deal with whether you are more or less experienced. Every character on this story has different experiences: some are more naïve, some are more bohemian, some are more averse, and some don't care at all, but all of them have consciously made a mistake. I say consciously because there's no such thing as someone making mistakes in these situations without thinking thoroughly about the outcome. The premise and development are as simple as it can be, but simplicity doesn't mean banality. The screenplay in its simplicity has an incredible depth and reliability, whether it is on the awkward situations characters get into, or the sexual adventures, that some of us have been through. And to those who have, this movie speaks our language, because it relies on us and us in it. This is why some independent movies are such a pleasure to watch, because even though we are not there, we are those characters.

There's a clash of cultures, families and sexual orientations in "Laurel Canyon", and I enjoyed all of it. Sam (Christian Bale) and Alex (Kate Beckinsale) are an uptight, New York couple in complete control of their lives, until they move in with Sam's mother Jane (Frances McDormand) who is a loose hippie (in all senses of the words). Jane also has a slew of rock-and-roll men living in her house, most notably, Ian (Alessandro Nivola), her primary boyfriend with an irresistible accent - but then again Jane and Ian don't really label anything, especially relationships.

As Sam grows increasingly frustrated by his mother's lifestyle, Alex grows increasingly intrigued by it. Sam's need to control everything can get annoying, but Bale plays well off of Beckinsale's quiet energy. The sexual tension between Beckinsale, Nivola and McDormand is electric and is able to keep driving the film forward.

The dialogue is funny enough and the actors are all very good that they make up for the slightly predictable plot. At the Independent Spirit Awards, Frances McDormand was nominated for Best Supporting Actress and Alessandro Nivola for Best Supporting Actor. Well deserved nominations and quite possibly the best performances of their careers. Be prepared for sexual energy in every direction, but I recommend "Laurel Canyon".

`Laurel Canyon' is an intriguing character-driven drama, written and directed by Lisa Cholodenko and featuring first-rate performances by Frances McDormand, Christian Bale, Kate Beckinsale, Alessandro Nivola and Natascha McElhone.

Sam (Bale) and Alex (Beckinsale) are recent Harvard med school grads who move to Southern California to begin a new phase in their lives, he as a resident in a psychiatric ward and she as a genetics researcher working on her PhD. While there, the young couple moves in with Sam's mother, Jane (McDormand), an aging, hard-living but highly successful music producer who owns a gorgeous residence (in Hollywood's posh Laurel Canyon) that also doubles as a recording studio. Sam, an earnest, rigid, almost prudish young man, has long rejected the free-wheeling lifestyle of his mother whom he considers more of an embarrassment than anything else. The brainy Alex, on the other hand, who graduated first in their highly competitive class, has led a more `sheltered' existence and she finds herself strangely drawn to the hedonistic atmosphere she finds here. Another factor pulling the couple apart is the growing relationship between Sam and Sara (McElhone), the beautiful young resident who works with him at the hospital. The fifth element in the mix is Ian (Nivola), a smooth-talking, cocky young singer who, though officially attached to the much-older Jane, plays a primary role in getting Alex to loosen up, shed her inhibitions, and come join their little `party.'

`Laurel Canyon' plays out like a `civilized' power struggle, with the various characters jockeying for position, staking out their territory, and attempting to pull certain key individuals into their own respective corners. Alex, with her air of naïve innocence, is clearly the main `prize' here, but Sam also feels a noticeable tug from Sara, who senses in her co-worker a kindred spirit she would like to get to know better. These are people playing with fire – Jane and Ian in particular – and one of the messages of `Laurel Canyon' seems to be that a life conducted without a clear moral code will end up in disaster for all concerned. However, Cholodenko does not seem exactly enamored of Sam's provincialism either, seeing it as a wall he has constructed in order to hide from the truth of his own nature.

McDormand makes an indelible impression as the intriguing but somewhat pathetic Jane, a woman who's failed as a mother primarily because she's never been able to grow up and accept adult responsibility. The few encounters we are privy to between mother and son are searing in their intensity, but `Laurel Canyon' keeps its confrontation scenes to a minimum, choosing instead to find its meaning in the things that are NOT said rather than in the things that are. That's a risky strategy that generally pays off, though some in the audience may find the subtlety and lack of a clear-cut resolution unsatisfying and even frustrating in the long run. The plotting is sometimes a bit too clear-cut and neat for its own good and the parallelism (i.e. the simultaneous drifting apart of Sam and Alex due to their respective `temptations') sometimes feels forced and obvious. The parallelism is less obtrusive in the case of Sam's patient, a 16-year old boy whose drug addiction is placed in stark opposition to the `casual, recreational' drug use of Jane and her music-making cohorts. Moreover, having Sam and Alex be a married couple rather than just boyfriend and girlfriend might have intensified some of the moral complexities and dilemmas faced by the characters. Still, the caliber of both the acting and the writing keeps us involved for the duration of the film.

`Laurel Canyon' spins a unique tale in a relatively unfamiliar setting and provides five fine actors an opportunity to really display the perfection of their craft.

Writer/director Lisa Cholodenko follows up her much-acclaimed 1997 debut High Art with this examination of a young couple seduced into a hedonistic, left-coast lifestyle. Taking its title from its central locale, Laurel Canyon focuses on a pair of upper-middle class lovebirds from the East Coast who relocate to Los Angeles.The film stars Frances McDormand, Christian Bale, Kate Beckinsale, Natascha McElhone, and Alessandro Nivola.

Freshly graduating from Harvard,Sam and Alex are eager to continue their medical studies out West, but they need some lodging while they hunt for a home. Enter Jane, Sam's estranged mom, who's more than willing to put the couple up in her lavish digs. Jane is a successful record producer whose latest charge -- both in the studio and in her bedroom -- is Ian , a brazen, libidinous twenty-something Brit-rocker. As Sam and Alex settle in at Jane's, they gradually lose their straight-and-narrow approach to life and begin to experiment. Alex takes to Ian and Jane, while Sam is wooed by co-worker Sara.

This film is a character-study about self-realization.The performances of the actors and actresses involved were worthy of commendation.Frances McDormand is terrific in her new role as record producer,mother,and corrupter of curious girls.While the rest like Bale,Beckinsale and Nivola were outstanding as well.But inspite of its unconventional storyline,the movie will leave people hanging and with a feeling unsatisfied as the movie turns into entertainment instead of providing better explanations about the characters in it except for the fact that they are seduced by the culture of Los Angeles - wherein Laurel Canyon is located and nothing more.

If you were privy to the Laurel Canyon lifestyle in the 60s and 70s, this film is like a retro shock with all the old familiar haunts still there, and the inevitable lost generation of 20 somethings wandering the deer trail lanes of traffic to hang with the musicians. At least, this is how the premise of the 2002 version of the canyon lifestyle is reflected. Between the generation of hippie organic mama (Frances McDormand) and her predictably uptight conservative doctor son (Christian Bale) and his uber egghead grad student girlfriend (Kate Beckinsale) are the silences of a parent who did her thing and a son who didn't.

Literally caught between them is the luscious Beckinsale, who comes to enjoy the hedonism the mother's world of music and a young lover (Allessando Nivola) present. She likes the pot, pool parties, and 3-somes while her fiancé dallies with the sublimated lust for a professional colleague (Natasha McElhone) who is more his cup of straight-laced tea. His resentment of mom's ability to be cool and productive clash with his inability to make decisions about his own lifestyle choices, a serious wife-in-training, his medical practice, and the possibility of affairs with other women. He is as much drawn to sin and swinging as Kate. The tension of the six characters makes the story of kids and their parents failure to communicate as old as the perennial hills.

Great soundtrack with vocals by Nivola and recording sessions are added plus. McDormand is one of the finest character actors around, and she rises to the challenge of taking back seat to Beckinsale's beauty. Nevertheless, McDormand steals the show every time she is on screen. We don't care about the young couple, we care about the three-way between mother, her lover, and her son's lover...that's Hollywood!

In the 1960's, when the nation was divided over a war that many thought to be a tragic waste of human life, when many citizens thought the man in the White House to be an incompetent crook, and anyone who protested got labeled `unpatriotic'. wait, this is starting to sound familiar.

Anyway, in the sixties, Bob Dylan wrote a song wherein he sang, `Something is happening and you don't know what is, do you Mister Jones?' He was of course referring to the squares total inability to understand what the hipsters were up to. In fact, the squares would sometimes hear this song and have no idea what it was about. Well, the same holds true for writer-director Lisa Cholondenko's latest work, `Laurel Canyon'.

Here is a movie featuring characters that are truly authentic. The story is captivating, introspective and well worth telling. And yet, this picture is only playing in relatively few theaters and the critics, for most part, don't seem to get it. How can this be?

What's unique about this movie, to me, is that is has a soul. At certain moments it reminded me of some of Altman's work in the seventies. It moves at an organic pace. The characters feel alive. The house in Laurel Canyon, where much of the story takes place, serves less as a backdrop and more as window into one's self. Perhaps this is what some of the critics found particularly disturbing.

Here's what some of them had to say, followed by my comments.

E! Online said they couldn't figure out `what point the filmmaker is trying to make'.

The filmmaker isn't `making a point'. Most movies which try to make a point, suck. She is instead asking questions - questions which might present a challenge for some people to confront.

The New York Times called writer-director Lisa Cholondenko `an acutely observant chronicler of upscale bohemian subcultures'

What the hell does that mean? This movie is not about bohemians. It's about boundaries - the boundaries that destroy relationships and the boundaries that preserve them. It's about the limitations we place on ourselves which cheat us of the possibility of discovering who we truly are - and it's about the limitations which prevent us from hurting ourselves and others. Perhaps these issues fly beneath the radar of "Mister Jones".

Variety thought the `characters tediously one-dimensional, the dialogue banal.'

Well, all I can really say about that Bob Dylan already said much better. `Something is happening and you don't know what it is.'

The music in this movie is awesome, thanks to the writing talents of Mark Linkous, the creative force behind the critically acclaimed band "Sparklehorse." The songs are sung by actor, Allesandro Nivola, who's performance was awesome - as was Francis McDormand, Kate Beckinsale, Christian Bale and Natascha McElhone. All I can say is go and see it.

I saw it a week ago and it's been on my mind ever since. The movie speaks for itself.

As a huge fan of Frances McDormand, I went in seeing this movie with high expectations of her performance, and was not disappointed. As the record producer Jane, McDormand comes off as both worldywise and vulnerable. Jane's seeking shelter in the storm that is her life-she wants to connect with her son and future daughter-in-law, and she wants to find happiness in the arms of a much younger man, even though deep down she knows the relationship is all wrong. She's terrified of growing old, and has managed to combine single motherhood with a successful career. The always smoldering Christian Bale puts in a simmering sensual performance as her son-the-doctor Sam. Kate Beckinsale, as good as I have ever seen her since Cold Comfort Farm, is Alex, Sam's fiancé who decides to take a walk on the wild side while out in California. As a somewhat sheltered New Englander, she takes like a duck to water the laidback California lifestyle. The transformation is natural, and it does her character a world of good.

The chemistry between McDormand and Beckinsale is crackling throughout, and odd to say, there is more chemistry between these two actresses than there is between Beckinsale and Bale. When his character is sexually attracted to a fellow doctor (played by the ethereal Natasha McElhone) you almost find yourself rooting for the two of them to get together.

A friend recommended that I see this movie, and I am so glad she did-it is severely underrated, and an engaging character study.

I've just seen Laurel Canyon and I think it is a good movie. The main reason is because of the performances, especially from Christian Bale. He did an amazing job playing a character going through some sort of inner turmoil, of trying to confine his emotions. There are a lot of powerful scenes, I can't tell you them but look out for it. As a married man I understand the temptation he has to deal with.

Kate Beckinsale(sp?) also did a convincing job of a playing the awkwardness of a foreigner in an unknown and exciting place.

Francis Macdormand(sp?) What can I say, she is always amazing, and natural.

Alessandro Nivola is a young actor who you should keep an eye out for! His screen presence has everything that is needed to live an immortal live on the silver screen.

May alone dissatisfaction is with the films aesthetic direction. It just wasn't coherent. Just compare the first shot with the metaphysical and poetic last shot! Who is to blame, the director or the cinematographer

Overall, if your looking to see a film with great performances, an acting film, this is worth watching.

"Laurel Canyon" isn't a sharp enough barb at the music industry nor is it insightful enough about relationships, but there are individual performances and musical references to make it worthwhile.

Frances McDormand as a Queen Bee, omnisexual music producer is a prime reason to see the film, playing the opposite of her "Almost Famous" Mom. There are hints about her musical ears being passe, as her house has a lot more shelves and shelves of old LPs than the few new CDs piled up, plus the photos of her in studios with past stars. And classic rock seems to always play around her, but the excesses and record company pressures don't seem new and she is bedding a rocker 16 years her junior, basically her son's age. The realistic musical mise en scene includes appearances by musician Lou Barlow and producer Daniel Lanois, among others.

The basic tension is supposed to be her being the fascination of the abomination to her straight-laced son Christian Bale (pretty much playing the same character as in "Metroland") and his fiancee, Kate Beckinsale pretty much playing the Susan Sarandon role from "Rocky Horror Picture Show." There's also some irony about Bale's character being an effective shrink in training, with all his mother issues, and a new twist on mother-in-law issues.

But that is undercut by virtually all being drawn, a la the Rolling Stones' "Spider and the Fly" song which should be on the soundtrack but isn't, by snake-straight-from-the-Garden-of-Eden Alessandro Nivola's sexy leader of a rock band that sure looks and sounds a lot like Goo Goo Dolls or Coldplay (the film's composer is with the band Shudder to Think) and sincerely says all kinds of unbelievable things about commitment and has no problem writing a radio-friendly ballad. (I see that he's married in real life to Emily Mortimer which made me think that he was the inspiration for the cause of her character's horrific physical insecurities in "Lovely and Amazing" but he did give such a very sweet acceptance speech for her at the Independent Spirit Awards. After this movie, he could slither into pop music -- would he be the first from Phillips Exeter and Yale to take that career path?)

I have no idea why Natascha McElhone's husband-temptress is supposed to be Israeli, as her mangled accent is just odd.

There is a neat running visual leit motif about the different symbolic uses of a California swimming pool by different people, from early morning determined laps to late night skinny dipping.

The round-robin apologies (and lack of some) at the end simply make no sense and leave us finally with no catharsis or resolution.

I rented this movie several times. Today I bought it so I can see it anytime I want. My review is like the guy that wanted more for an ending and the other reviews that like Kate, but think that nudity would be better in this movie.

It brings back memories. I was an ER doc at Santa Monica Hospital 12hr shifts, 5 days on 5 days off. I was invited to a lot of parties in Venice Beach, Laurel Canyon, Malibu. Good memories. I never drink more than 1 beer per day (ER docs only see the bad things that happen), but I love that life style. It is not for me, but I had a great time being part of it.

Advice to the director: Do this film again. This time get an actress that will jump into it and give it 'her all'. I am not asking for an xxx film, but you already have R rating. Do it correctly the next time. Also, don't quit so soon. I want to see more with Sam and Sara. I want to see what happens with Alex (I married a girl like that and I am a guy like Sam) You have a great 'showtime' novel. I could compare it to 'Californication' but with REAL people and a REAL life outcome, less drinking and drugs and more REAL life. This is more than one of those day-time soaps. Southern California is an exciting mystery to the rest of the world. I have been around and talked to a lot of people from all over the world. They are all fascinated by California, movie people and crazy lifestyles. They may not be real but are exciting and captivating. Most people are like me: I could never live that lifestyle, but I love to imagine myself in it. I will watch your work long after I retire. You could make showtime a fortune. It is worth 5 seasons minimum.

If my wife doesn't fall asleep in the middle of our evening movie, I know it's got something going for it, particularly if she's seen it several times before. I never get tired of watching this movie, either. It has Kate Beckinsale looking especially young and lovely. My favorite part is when she's out running in her leos and stops to take in the view. We see her from the rear and she certainly has a nice figure. Then there's Natascha McElhone, Christian Bale's attractive colleague at the mental ward where he works. She gives Kate some real competition, which isn't easy to do. The steamy scene in the car where Natascha and Bale confess in explicit terms just how much they want one another, has to be one of the more erotic interludes in recent movie history, and nobody removes even a stitch of clothing! A quick shot of a young blonde who decides to spend the day in the raw at the clinic provides another interesting moment for the guys in the audience. I especially enjoyed her little speech to "Dr. Bale" that "naked is inner," that she didn't wish to conceal her "warm supple skin," while alluding to the barren desert that is the world out there.

Of course, the movie has much more going for it than just hot babes in erotic situations. Francis McDormand, of "Fargo" fame, who is getting a bit too mature to be judged merely for her appearance (although she looks awfully fit for a woman her age), nevertheless is interesting to watch and dominates the situation throughout the movie. The way she interacts with the the record company exec who keeps hounding her about getting the album finished before Christmas is always amusing. Her interaction with her son provides some fireworks, too. We could do without one or two of the scenes between her, her boyfriend, and Kate Beckinsale, but alas, they are integral to the plot's development. The way the band, including her boyfriend, finish off their work in the studio and arrive at the final "hit single" they will need to satisfy commercial interests, provides a backdrop that carries the story forward surprisingly well. Coupled with the romantic quandary faced by Christian Bale who must choose between fidelity to his fiancée, Kate Beckinsale, and a lustful fling with his alluring coworker, Natascha McElhone, gives this movie an entertaining edge that is not usually seen in more recent Hollywood offerings. All in all, the idea of life in Laurel Canyon is successfully conveyed. You get the distinct sense that the young couple from Boston got more than they bargained for when they moved to L.A.

This is a really interesting movie; not quite sure why or how it hasn't received more kudos that it has. The plot is not for the faint hearted when it comes to issues of sexuality and nor is the language. But if one is of a mature age and attitude; this is well worth watching. This is an ensemble performance so I wont single out any single actor for particular comment; the sound track is integral to the film and while present, does not overwhelm. One of the interesting aspects of this film is how it deals with age. Ultimately this film is about reality and ambiguity of relationships and the importance of honest and as such it about life. Highly recommended.

Very fine piece of film making. The words that spring to mind here are, 'heart warming' and this is a word that if I see it attached to a film, I run a mile. But here the exceptional character development allows us to initially 'take in' the person portrayed and then gradually have to 'reassess' because just like real folk, things are just not that simple. And it is therefore appropriate to call this film 'heart warming' in a good way because we are learning about the characters , their interplay and our own involvement. Simply put it makes us feel good that even when we see people portrayed as bad, lazy, stupid, selfish we can still come to see them through another light as good, hard working, intelligent and helpful. In different circumstances and with different people we can all be different too.

I'm writing this in an effort to offset some of the negativity this film seems to have elicited. (One critic complained that the movie isn't dark enough.) I honestly think that open-minded people will find a lot to like in it. Frances McDormand conveys the wierdness of having conservative offspring. But maybe 'conservative' isn't fair - the offspring is searching too. Anyway I found the film charmingly addled. A work in progress, it asks the question Who isn't? But if you're looking for typical Hollywood fare, steer clear.

Every scene in this film counts. The color and the mise en scene constitute worthy, discrete works of art. In addition, the director choicely edited her beautiful scenes to make a seamless, flowing work that is even greater than the sum of her "delicious" scenes. This film must be viewed in the theater. It is visually one of the most sumptuous films I have ever experienced.

While there are character issues that deserve discussion, this is not a coldly intellectual film. To the contrary, it is a warm, emotional picture. There appears to be a Kenneth Lonergan influence regarding the rhythm and character development in the relations of the scenes to one another, and French influences regarding the eternal now-ness represented in each discrete scene.

I would not recommend this film for persons who enjoy mainstream cinema.

Terrific sound track. Right on portrayals of folks in the music business. A great example of the inner struggle to let go and live on release versus holding on too tightly to what's right and moral. And a brilliant example of the fine line between healthy selfishness and knowing when to be kind to others.

This very stylish story is just chock block with fine acting, sharp writing, a great soundtrack, and gorgeous camera work. It is a nice little morality play, classical in proportions, and thus two-dimensional; but that is not a negative comment, simply an observation. Character development, per se, does not occur, but the viewer will be surprised, perhaps, to find who has the moral center when all is said and done. The turn by the patrician lad from Yale as a Brit musician is quite convincing; Phillips Exeter's aping of he English tradition is good for something, after all.

The scene where the young scholar enters the den of musicians for the first time is worth the nine dollars, just to see McDormand's face perform to perfection.

We don't see often scripts like this one on our screens. Even if I don't agree with its message, I loved the basic idea and the way it was written. BUT...

*Spoilers* ...this movie has failed. This is a perfect example of how long is the distance between a good script and a good movie. The war between emotions and logic seems to be eternal and we'll probably never stop writing or making movies about it. In this movie, the messages are strong and disturbing, specially the relationship of Sam's mother with her daughter in law. No culture can accept this thing as natural, and even if it had only a semantic function in the writer's mind, it should be presented in a very artistic way in order to make the whole thing work. Something that does not happen here. The movie is filmed like an ordinary family picture, with nothing innovative, and it's definitely poor in art. In order to make this picture work, I believe that they should either erase this sick relationship and keep their crew as it is, or keep the original script and call Polanski to film it or something. In brief, I believe that this is a lost opportunity. It could have been a great movie, but it has turned out to be just sick soft-core. Sorry, 3/10.