Best Friends

Burt Reynolds' appealing performance is the only thing one can recommend about this aimless, extremely mild comedy. It's so bland that it seems more like a kiddie film. The supporting characters are mostly annoying caricatures. By the end, you'll be feeling that the movie wasn't really worth your time.

Burt Reynolds and Goldie Hawn play screenwriting partners, and longtime romantic partners, who decide to get married and then find that marriage is not the same as being "best friends." Written by Barry Levinson ("Diner" "The Natural" "Avalon") and Valerie Curtin (who co-wrote "...and justice for all" "Inside Moves" and "Unfaithfully Yours" with Levinson), based the story on their own lives as writing partners. The film was directed by Norman Jewison ("In the Heat of the Night" "Moonstruck" "Rollerball") and was shot by Jordan Cronenweth ("Blade Runner" "Stop Making Sense" "Peggy Sue Got Married"), along with music by Michel Legrand ("Summer of '42" "The Thomas Crown Affair"), so considering all of the talent behind the camera and in front of the camera, which also included Jessica Tandy, Keenan Wynn, Ron Silver, and Richard LIbertini, the film is somewhat of a disappointment. However, although the film is not as good as I would have hoped, the stars have a likable chemistry and have a fun Tracy/Hepburn type of relationship, where the male and female leads are presented as equals, which is rarely the case with romantic comedies. Watchable if you're fans of the two leads.

The undeniable charm of its stars, at the peak of their popularity, is the only thing that makes BEST FRIENDS slightly watchable. This paper-thin story centers on a pair of Hollywood screen writers named Richard Babson (Burt Reynolds) and Paula McCullen (Goldie Haw), who after years of living together, decide to marry, though they both have always felt marriage would destroy their relationship. There's nothing new or interesting here and the thrust of the film is when the pair make a trip to visit each other's parents. Jessica Tandy and Barnard Hughes are wonderful as Goldie's parents, Audra Lindley and Keenan Wynn also have their moments as Burt's parents, but the whole thing just plays like a hastily written sitcom. The film is driven purely on star power and has this whole "been there done that" air about it. I think Burt and Goldie must have needed the money.

Based on the real relationship between film director Barry Levinson and his wife, Best Friends is one of the greatest last films that marked Burt Reynolds's popularity.In the brutal crime-drama Sharky's Machine, Reynolds achieved perfection, as a director and a movie star, but here he is sweet, vulnerable and, yes, believable. An absolute box office champion during the seventies and early eighties, Reynolds lends all his charm, claw and talent to his character. Goldie Hawn, charming and provocative, composes with perfection a woman who,in spite of loving Reynolds' character, is afraid of getting married, what may mean a precipitate step in the relationship. Jewinson, one of the last real filmmakers from Hollywood, accomplished a sweet and hopeful comedy/drama about the ups and downs of every couple of lovers. The big surprises are the beautiful (and nominated for an Oscar) song called "How do we keep the music playing?" and the talented supporting cast, that includes Jessica Tandy and Ron Silver.

A reunion of sorts for director Norman Jewison & writers Barry Levinson & Valerie Curtin (who worked together on 1979's And Justice for All) on this comedy from 1982. Burt Reynolds & Goldie Hawn play screenwriters who are partners at work & partners at home who feel the stirrings of marriage but when they decide to tie the knot & visit each other's in-laws, the sinking feeling of regret soon settles in even as a film they have in production needs their services. Screaming 'inspired by real life', this tale clearly mirrored Levinson/Curtin's real relationship which gives us some interesting comic vignettes but not much else since as a couple on screen, Reynolds & Hawn look uncomfortable even when they're embraced in affection. Jewison hadn't directed such froth as this since his early days in the 60's when he made a couple of Doris Day pics so seeing him return to his roots, as it were, feels like many steps back rather than an evolution for this auteur.