Aufgelegt!

The best scene in this Diane Keaton-directed film has drunken dad Walter Matthau showing up at a kid's birthday party bellowing and vulgar, but it doesn't belong in a comedy. It's more like something out of "Shoot The Moon", which Keaton starred in, and would fit much better in a film with a darker tone. "Hanging Up" wobbles around in search of appropriate emotions, but Keaton just can't get a consistent rhythm going. Her performance as the eldest of three unhappy sisters is also wan (she's winging it), however Meg Ryan as the middle sister has some fabulous moments: she hugs a coffee machine, she tries to convince her husband that driving a wrecked truck is going to work for her, she tells off her father but cries because she loves him. This is a performance well worth watching, but the picture definitely needed a director with a tighter grip on the reins. ** from ****

I saw the DVD because I knew it was Walter Matthau's last film, otherwise I would have skipped it. This was incredibly boring and stupid. Walter was the only one showing any talent. I realize that he was still living when the film was released but newer DVD's could show "in memory of Walter Matthau". By the way, the dvd has both wide screen and full screen. The full screen is better here because the widescreen version is not anamorphic, only masked.

The late Walter Matthau ended his long and illustrious career as a film actor in `Hanging Up,' playing, appropriately, the dying father of three adult daughters. I wish I could say that the vehicle he chose as his eventual swan song were one truly worthy of his enormous skill and talent. Unfortunately – or rather fortunately – however, this will not be the film for which he is most remembered.

Like so many films, `Hanging Up' starts off with the most noble of intentions. Writer Delia Ephron and director Diane Keaton have attempted to come to terms with the most complex issue facing the aging baby boomer generation: how does one cope with ailing, aging and dying parents while trying to keep a grip on one's own hectic life and personal commitments? And, to make matters more complicated, how does one expend the physical and emotional energy needed for such a task when the parent himself is often irascible, crusty and even downright unlikable in his behavior and nature? And, finally, how does a wounded child ultimately find it in his or her heart to forgive the parent and arrive at that moment of reconciliation so crucial when death finally comes?

When `Hanging Up' focuses on this theme, it achieves moments of point and relevance. All of us can identify with the main character, Eve (Meg Ryan), a sweet, warmhearted young woman who, alone of the three daughters, has unflaggingly dedicated herself to the care of a father who, more often than not, strikes out at her in unappreciative scorn and anger. Wearied and harassed by the enormous burdens of her hectic life and her own inability to say `no' to the people who demand so much from her, Eve emerges as a truly winning and believable character. Unfortunately, her two sisters, Georgia (Diane Keaton), a magazine magnate, and Maddy (Lisa Kudrow), a soap opera actress, come across as shallow, two-dimensional characters whose self-absorption and seeming indifference are (ho hum) really masks for the insecurity and hurt hidden deep beneath their composed surfaces.

Somehow, however, for all its attempts to deal with a truly universal theme, `Hanging Up' never seems quite real in its look and demeanor – it always feels like a movie. Maybe it is the overall slickness of the approach that undermines the seriousness of the drama. The actresses, good though they are, seem somehow too glamorous, their careers too unrepresentative of most of the people in the audience. Another problem is that the film can never seem to settle on an appropriate tone. One moment we find ourselves steeped in searing drama followed the next by a scene of trivial slapstick. Time and again, Ryan is forced to trip over a discarded toy, tangle with an overgrown mutt or bang away at an uncooperative coffee dispenser. Such incidents end up reducing the level of the drama to little more than sitcom status.

`Hanging Up' has, however, been blessed with a wonderful cast. Ryan, Keaton, Kudrow and Matthau pore on the charm and play off each other nicely. (And the film has some devilish fun playing up the physical similarities between Matthau and Richard Nixon). These fine performers obviously had a terrific time making the film together. That is why one regrets the fact, that for all their hard work, the film they left behind is so lacking in credibility and grit. At the end of his career and life, Matthau deserved better.

This movie is definitely not what I had expected. With a cast like this I expected a great comedy. But the movie was boring and confusing. There are too many flashbacks. Maybe it is just me, but I found it difficult to understand what was going on. Of course, that could also have something to do with the fact that it was very difficult for me to stay focused. What a shame this was going to be Walter Matthau's last movie. I you found this movie good or even funny, you must be more intellectual than me.

Telemarketer irritation--that's the feeling I had when I watched Hanging Up, an almost cartoonishly clichéd "woman's movie." Diane Keaton's direction of this mess is so incompetent that I hope she never stands behind a camera again. The movie fails on every level--it bored my wife and daughter (and it's only because I'm anal about finishing movies that I sat through 95 minutes of Hell; they went to bed).

This was Walter Matthau's last movie, and it hurts to see such a premiere talent being wasted (although his toupee looks as if it could live on). Meg Ryan appears to have lost weight for Hanging Up (if that's possible) and seems to be carrying the mass of the world on her shoulders, physically dissipating in front of our eyes while wearing one paper-thin muscle shirt after another. Looking scrawny and bra-less isn't appealing to anyone.

Okay, enough for the nastiness. This really is a waste of film stock. Whatever BIG messages it has about sibling rivalry and familial relationships and keeping your accident from your insurance company are lost in Keaton's attempt to play cute and/or sweet (the dog and the pill; the Iranian mom).

The movie's called Hanging Up. My suggestion is to take the phone off the hook before the opening credits.