Lovely & Amazing

This film is about the daily struggles for happiness of a mother and her 3 daughters.

The story is captivating from the start. The mother, played by Brenda Blethlyn, is insecure and wanted a liposuction. The eldest daughter, played by Catherine Keener, has a painfully distant husband. The middle daughter, played by Emily Mortimer, is a struggling actress with high levels of insecurity. The youngest daughter is an adopted daughter of African heritage, and she is spoilt to bits.

The dysfunction between the family is portrayed very well, due to excellent character developments. I get to understand every character's thoughts and feelings. Catherine Keener and Emily Mortimer act well, and brings the characters to life. There are few films that can make the characters so vivid and alive.

whenever she launched into one of her favorite themes, "American women hate their bodies." "Lovely & Amazing" takes us into the appearance-based self-image of females from eight to slightly past mid-age whose concern about their bodies is one major part of their complex, sometimes wacky and always interdependent lives.

"Lovely and Amazing" takes its place along "Kissing Jessica Stein" as a sharp, inspired view of women's lives as seen through a female director's vision brought to life by an outstanding cast.

Director Nicole Holofcener, who also wrote the script, projects a sense of balance that brings each character's life into sharp and absorbing focus. Jane, (Brenda Blethyn) the long-divorced matriarch, adopted a young black girl, Annie (Raven Goodwin). No reason given and...none needed. Jane is both wise and vulnerable, warm and vain.

Her two grown-up (entirely chronologically and partially emotionally) daughters, Michelle (Catherine Keener) and Elizabeth (Emily Mortimer) lead different lives but express much mutual love for each other and with Annie. No sibling rivalry and repressed anger from a pantheon of past slights in this flick. Michelle is a caring mother of a little girl married to a guy who obviously is tired of the union but Michelle can't figure out why. Her husband may be bored and disposed to philandering but she never figures out that his complaint that she won't work but only devotes herself to creating odd objets d'art that no one wants to buy has some merit.

Elizabeth is a stray pooch-collecting film actress teetering on the edge of dwindling starletdom. Described as neurotic, she really has a basis for her career insecurity which is exacerbated by a boyfriend whose unsupportive manner borders on clinical anhedonism. Woody Allen's frequent neurotic film persona is unbounded joy compared to this guy.

Weaving through the sisters' and mom's various dilemmas is a constant concern about body contours. The rigors of liposuction (the mom's expensive treat for herself) are realistically shown - no sugar-coated subliminal push for surgical sculpting here. The scene where a naked Elizabeth demands a post-coital appendage-by-appendage evaluation by her cautious lover wryly comes close to a truth many women admit to but only amongst themselves (I assert that Upon Information and Belief, a useful lawyer's escape).

Annie, born a crack baby, now has to deal with baby fat as her important life issue. Whether she wants to or not. She's sharp and funny and the genuine ease by which her two siblings refer to her as their sister does not displace references to the reality of growing up black in an affluent white family but it does put that dimension in perspective. This is a very lucky, loved kid and the affection between the three sisters is believable. Also welcome. And just plain nice.

All four share the trait of being able to hurl four-letter expletives at the drop of a slight. It's very funny.

The men in the movie aren't so much irrelevant as they are accessories: useful, often annoying, sometimes immature but never dangerous. Or even worth looking at too closely.

Catherine Keener and Emily Mortimer shine as complex characters not wholly aware of why their lives play out as they do. Neither can repress a refreshing optimism that surfaces time and again. Ms. Keener is an amazing actress!

Director Nicole Holefcener has a lot to say and I'm look forward to her next film.

Few directors have a firm grip on creating comic works which while making us laugh or smile, also move us deeply. Chaplin's genius was founded on this blend of emotions. When Time magazine's cover labeled Wood Allen "comic genius" it was this same principle they were commending, though his films over the past 20 years would largely disprove this assumption.

Nicole Holofcener's small output prevents making any kind of assumption as yet, but in "Lovely and Amazing" she displays remarkable ability in dealing with the pain people (mostly female) experience in grappling with the issue of self esteem. Throughout the movie and without any lapse, she reveals the comic side of human frailty. We laugh at the characters with compassion rather than derision. It's a feat of great skill and much promise.

Holofcener clearly works well with actors, Brenda Blethyn, Catherine Keener, Dermot Mulroney, Emily Mortimer and Jake Gyllenhaal, all are spot on with their characters. She also elicits a lovely underplayed performance from inexperienced child actor Raven Goodwin.

Holofcener has produced a genuinely lovely film; one that portends amazing things yet to come.

Holofcener has got an eye for telling stories about modern-day relationships, particularly the relationships women have with others. Her films are insightful and they even depict an uncomfortable truth about human behaviour and how mean and even cruel people can be without even realizing. 'Lovely and Amazing' focuses on the family Marks, a family of women that include Jane mother of three eager to get liposuction to lose weight, Michelle, the obnoxious, self-involved mean older daughter who has a dysfunctional relationship with everyone, the insecure younger daughter Elizabeth who is a struggling actress and the youngest is ten-year-old Annie, who wants to look like her mother and sisters. These dysfunctional sisters, though never overtly hostile or aggressive with each other, they merely seem to just get along. However, Jane's hospitalization brings them close to each other but in an unexpected way.

Director Holofcener very subtly portrays the tenderness of each character and the intimacy in their relationships. There are no sugarcoated melodramatic spoonfeeding for the viewer. The relationship with the mother is also a key element and the viewer witnesses that each sister has a different bond with her.

I only thought that the portrayal of the men was a bit one sided as all of them are shown to be inconsiderate jerks. However, this is clearly a film about women and Brenda Blethyn, Catherine Keener and Emily Mortimer do a wonderful job. Raven Goodwin does a brilliant job too. Her Annie is perhaps the sum of the personality of her sisters. Of the supporting cast, Aunjanue Ellis and Clark Gregg do a fine job.

In terms of execution, thankfully there's nothing too flashy. The lighting, cinematography, score and editing are fine. Product placement is quite obvious in places. 'Lovely & Amazing' is an insightful look at the relationship between modern day women. The stars of this film are Nicole Holofcener and her actresses.

Watchable and inoffensive but hardly likely to arouse intense debate about anything, really. The performances are neat and unshowy, with Catherine Keener reliable as ever as (another) wayward hard-ass, Mulroney playing the roguish fool and Jake Gyllenhaal practising for the role he plays in The Good Girl. But Brenda Blethyn's matriarch isn't given any real depth which has got to go down as a missed opportunity. And since the story is an irrelevance, there aren't enough revelations (in fact, none) amongst the introspective musings and general angst to set this apart from any other female-orientated slice-of-life indie. It all feels a bit like Soderbergh's Full Frontal, only less constipated.