L.A. Love Story - Verliebt in Los Angeles

I'd say I wasn't expecting much from this movie, and somewhat conflicting reviews of the movie did not help on the matter either. But eventually I am happy I did watch Dorfman since I enjoyed it tons. The story in the movie is simple and maybe even somewhat of a cliché, but since I do not need my romance and feel-good movie fixes to be overly complicated, this easy to stomach story did work for me quite well. A simple setting of a young gray mouse type of a woman getting her chance to prove to a guy she is secretly in love with for many years that she's the one for him, turns out to be more of a journey to her own self discovery and for once love and being loved in return. Looking for a nice romantic movie for the evening, why not try Dorfman, you might find a little gem here

There's always an uplifting feeling when we see someone (even a fictional a character) find the courage to be true to themselves. It's something we all aspire to do. Dorfman will not disappoint in this regard. Sara Rue (Deb) becomes a whole person and we get to take part. Sara really delivers here and should find more star vehicles. Deb leaves the safety of the San Fernando Valley to explore the unknown of a revitalized downtown Los Angeles-not an easy transition for her. In five short days she begins to understand she's more than an enabling sister and daughter but a real person entitled to her own space and feelings. You'll never be able to look at Elliot Gould the same way again. He's great as a truly loving father who still has the potential to grow and enjoy life. Haz Sleiman is great, simply great. His character Cookie comes off as almost too good to be true and still authentic. I enjoyed the film and would recommend it to everyone.

As a love letter to modern L.A. it does a great job, though with less nuance than, say, L.A. Story. Sara Rue is likable in the eponymous role, and she grows quite a lot in the film though rather more quickly than is credible and in a fairly predictable way. Her take on the "I have no filter" character is convincing, but the character itself is a little hackneyed. Her costar Haz Sleiman (Cookie) is very very good. The secondary characters are mainly OK though generally not believable as humans.

Unfortunately, Elliott Gould -- one of my very favorite actors - gives what has to be the worst performance of his career. His dialogue is full of clichés about old Jewish men of at least half-a-generation above him, the lines coming out of his mouth do not fit him at all, and he is obviously aware of this as he delivers them. As he has by far the strongest presence of any actor in the movie he dominates every scene in which he appears, and the movie suffers as a result.

From the description this could have just been simple Hallmark fare, but it has more to offer than that. It is worth watching if you're looking for an uncomplicated, reasonably funny urban romance, and willing to overlook the main plot line and some of the worst dialogue excesses while keeping an eye out for the great visuals and some of the genuinely funny interactions between Rue and minor characters like Bubba Ganter, Sonya Eddy and the wonderful Tonita Castro.

When Deb Dorfman (Sara Rue) house sits for a friend, her life changes forever. Her dad (Elliot Gould) has tried setting her up, but it doesn't seem to ever work out. Her married brother is a mess, and drags her into it. And now she has to house sit for a friend's cat. And it hates her. Will Deb ever get her own life figured out? Maybe she and her new next door neighbor can help each other. It's fun. Kind of feels like this was someone's own life story. Directed by Brad Leong, who has directed four films to date.... two of those were short films. Story by Wendy Kout,who was also a writer on mork and mindy in the 1980s. That's awesome! Blast from the past.

I fully agree with Salsa Boy from San Francisco. I saw this movie last night through the D.C. Jewish Film Festival. Elliott Gould did the best he could with a script that was one-dimensional at best, and, at worst, rehashed the worst sort of Borscht Belt stereotypes (to wit, "We Jews don't paint, we HIRE painters..."). Through most of the movie, I felt like I was watching cartoon characters (awkward girl with low self-esteem; brother who's an insensitive jerk; father who's super kvetchy), though it did get stronger toward the end. The theme--self-discovery and transformation--was a worthy one, but handled clumsily and in eminently disbelievable ways. Both the writer (Wendy Kout) and the great Gould himself spoke and fielded audience questions. I made the mistake of asking Ms. Kout why the characters seemed at times like caricatures, and I was stunned by her response, which I'll quote in its entirety: "You are SO welcome to your opinion." This movie is redeemed a bit by Gould's vulnerability and charm, but his talent is largely squandered in a script penned by a Hollywood hack.