rosscinema This film starts out as a dark comedy but about halfway through it turns on the sentimentality. Story is about a Los Angeles playwright that is in production with his new play and is having a terrible time with re-writes. Kenneth Branagh plays Peter McGowan and along with his play he and his wife Melanie (Robin Wright Penn) are trying to conceive a child and he is having difficulty with that also. Peter chain smokes and is not to crazy about kids but he is introduced to his new neighbors daughter Amy (Suzi Hofrichter) who has cerebral palsy. Melanie's mother Edna (Lynn Redgrave) is suffering from advanced senility and lives with them and Peter is having a difficult time concentrating on his play. And he also has a difficult time sleeping at night because his neighbors dog keeps barking so Peter goes for midnight walks and meets a man from England (Jared Harris) that has been telling everyone that he is Peter McGowan when in fact he's just an obsessed fan. This film is directed by Michael Kalesniko who wrote the screenplay for "Private Parts" and he displays a knack for showing the struggles of a writer but aside from that this is a film that meanders until it eventually wears itself out. Redgrave seems completely wasted as the senile mother of Penn. She has one effective scene with Branagh as she lies in bed but other than that her role is relegated to wandering about their home in a trance. Penn plays her role rather straight forward but she displays real charm that I think she's never really shown before on screen. Not a complicated part but she gives it her all. The film starts out with showing all of Peters quirks and difficulties but once that is done the film wanders and meanders until its reduced to Peter getting very sentimental over his neighbor Amy. Branagh is believable as a writer but all the events that go on around him are not.

dromasca I liked this movie - for a change we have here an intelligent comedy, smart dialogs, a conventional story that succeeds to almost never fall in the romantic routine. The story is set in Los Angeles. A British-American play-writer goes through a mid-life, mid-career, mid-relationship crisis. He is happily married, but the couple is childless, mostly probably because he is a champion of egocentrism and does not seem to like children very much. All this changes when a neighbor with an eight-year old daughter moves in. You have indeed seen the story in many other movies, but the masterful acting of Branagh with good support from the rest of the team, the sarcastic description of the content-empty life in the artistic circles in Los Angeles, and the witty relationship between the European roots of the character and his Americanized life make the film both interesting to watch, as well as true in message. 8 out of 10 on my personal scale.

lingmeister How to kill your neighbor's dog is a comedy that is about a character that is not ready to move onto the next step in life, but upon meeting a new neighbor's kid, befriends her. Their mutual relationship somehow inspires one other to reach beyond what each think is their boundary, and ultimately, allows them to grow up and out of their shells.The movie is moving without getting all sentimental, and its humor is deft and quirky.Branagh is great in this role, taking a break from the usual serious role and immersing himself into this character totally, truly allowing us to believe his transformation from a total jerk to a person who became enlightened.

burgerific ...you'll love this movie. It too uses a lot of big words and high concepts. It too has too many storylines that don't connect (ever). It too features a bunch of rich people feeling sorry for themselves for no apparent reason (maybe pondering the meaninglessness of their meaninglessness?). It too has a bunch of too-cool-for-the-room humor that you will only get if you are very smart and very clever.Don't get me wrong, there are good things about this movie, but they barely make it watchable start-to-finish. Branaugh, Hofrichter, and Harris all deliver spectacular performances and there scenes together prove to be the glue that holds this thing together.Of all the things in this film I didn't enjoy I will focus solely of the putrid performance of David Krumholtz, as the flamboyantly gay director, Brian Sellars. It is, simply put, the most two-dimentional, stereotypical, and offensively poor depiction of a homosexual I have ever seen on film. Seriously folks, it is painful to watch, and Krumholtz ought to be blacklisted for it.