Les Mots pour lui dire

Hugh Grant and Marissa Tomei. That actually should be enough. And most of the running time it is enough. At the highest points this get, it is really witty and funny and light entertainment. Nicely written then. But maybe some passages would've worked better with a re-write (yes I went there - pretty sure not the first and only one to do so of course).

Apart from the obvious pun and the already mentioned lead cast, we have a more than stellar surrounding cast. If you haven't seen Whiplash yet, do so. Though you might see the actor playing nice here with a completely different mind set. There are some extra bits at the end credits, with a really nice pun from one of the younger cast members. I also liked the fact that it didn't shy away from hot topics. Even if not entirely discussing them through (not always necessary)

Marc Lawrence (Miss Congeniality, Miss Congeniality 2: Armed and Fabulous, Two Weeks Notice, Music and Lyrics, etc) both wrote and directed this light hearted comedy and while its focus is on comedy, the film has a lot to say about midlife crises, career choices, student life, and learning to be optimistic.

An Oscar-winning writer, Keith Michaels (Hugh Grant) is on hard times – poor followup films, no interest from the industry, bad debts, a divorce, and writer's block – and his agent finds him a screen writing teaching job in Binghamton, NY at SUNY. Arriving in the town he is put off by the incessant rain, drinks in a local bar and picks up a student (Bella Heathcote) who wants to be in his screen writing class and his bed, and makes a fool of himself at the faculty welcoming reception when he angers the Jane Austen expert Mary Weldon (Allison Janney), embarrasses his boss Dr Lerner (JK Simmons), and has a wretched start with his first class (instead of reading the 30 screenplays from which he is to select his class he instead goes online and selects the most attractive girls). He encounters Holly (Marisa Tomei), a single mom taking classes there and that develops slowly into a meaningful, life changing relationship. Despite the efforts of friends he has made, his affair with a student nearly dismisses him from his job, but he stays because of his unexpected growing interest in his students and in teaching – and Holly, of course.

The movie is light but good hearted and Hugh Grant, Marisa Tomei et all make it very worth watching.

OK-so it's rather predictable and gets off to a slow start, but I found this indie as it progressed, enhanced by an excellent cast, won me over with its' wit and humor. It reminded me somewhat of the movie "Liberal Arts", from filmmaker Josh Radnor, which I also like quited a lot.

Hugh Grant is in fine form here, portraying Keith Michaels. a once highly successful screenwriter, but whose career is now flagging badly. Out of desperation, he accepts a position, set up by his agent (Caroline Aaron), which will have him teach a screen writing course at Binghampton University, in upstate New York.

Grant plays the fast-talking and glib cynic as well as anyone, and when he arrives in Binghampton, he undergoes the culture shock of feeling he's in the "sticks", and firmly believes all teachers are "losers" and that writing can't be taught anyway. Of course over time, he will see he can really help and care about his students, and will learn some important lessons for himself as well.

He gets exceptional support here from such screen notables as Marisa Tomei, J.K. Simmons, Allison Janney, and Chris Elliott. All of the students add much to the movie as well, with Bella Heathcote leading the way and getting the most screen time.

Overall, this film, ably written and directed by Marc Lawrence, was a pleasant surprise, and I found it quite funny and enjoyable. Even the outtakes, as the credits are rolling, were very humorous.

Stop us if you've heard this one before. A writer with a huge hit under his belt stumbles headlong into obscurity, but unexpectedly gets his mojo back when he befriends - and falls in love with - a woman who jolts him out of his comfort zone. It's not just the plot of Music And Lyrics, a film made seven years ago, starring Hugh Grant and written and directed by Marc Lawrence. It's also the plot of The Rewrite, a movie made seven years later, starring Hugh Grant and written and directed by Marc Lawrence. This blatant recycling of plot, star and director should be quite enough to turn even the most undiscerning of audience members cynical and dismissive of the final result. And yet, The Rewrite surprises rather than annoys, revealing a newfound and very welcome maturity in both director and star.

Oscar-winning screenwriter Keith Michaels (Grant) is down in the dumps: he can't get a job in Hollywood anymore, and he's been estranged from his family for years. To stem - or perhaps as part of - his downward spiral, he reluctantly agrees to teach a screen writing course in a small, remote college town as far-removed from the excesses of Hollywood as it's possible to get. He promptly gets into trouble when he arrives, diving into an inappropriate sexual relationship with student Karen (Bella Heathcote) and offending stern Professor Mary Weldon (Allison Janney) with his vaguely sexist opinions. But, as the term progresses, he begins to find inspiration in his students, ranging from a Star Wars nut through to a writing prodigy, but most importantly, optimistic single mom Holly (Marisa Tomei).

On paper, it's a recipe for dire predictability. Arrogant, formerly famous writer brought to his knees and taught the value of humility, feminism and love. Of course Holly will win Keith over with her spirit and heart. Evidently he will find in teaching the meaning that has been lost in his life for far too long. Obviously it means that our protagonist will become - gasp! - a better man. As it turns out, it's pretty safe to make all of these assumptions: The Rewrite doesn't re-invent the romantic comedy, nor does it fling any huge surprises at the audience. Keith's rehabilitation is a foregone conclusion the moment he cruises into town.

But The Rewrite subverts expectations by being, well, really rather good. You might be able to see the big plot twists coming from a mile away, but Lawrence's script and characters are sharp and funny enough to provide plenty of tiny, pleasant surprises throughout the film. Keith's Hollywood arrogance and casual sexism are never excused or passed off as part of his roguish charm - instead, he's called out on them at every turn. The women he encounters, especially Karen and Holly, are also very far from being the disposable stereotypes that tend to populate rom-coms. The former isn't simply a brainless, sexual diversion, and the latter gets firmly into Keith's face and refuses to let him take the easy way out, as one suspects he's been doing for a very long time.

Even the supporting characters who typically waltz in and out of scenes for a hit-and-run gag or two are memorably drawn, aided by the fact that they're played by some of the best character actors in the business. J.K. Simmons is a hoot as Dr. Lerner, the English department head who gets all weepy at any mention of his wife and daughters; and Janney, marvellous as always, hits the perfect note of imperious disdain as an Austen enthusiast horrified as much by Keith's skirt-chasing as his belief that movie scripts can be considered great literature.

It's refreshing, too, to see Grant embrace his age and really exercise his acting muscles. He may be playing the older version of many a suave, shallow-but-not-really character he's played before, but there's a depth and sadness to Keith that feels real. Tomei is just as appealing as Holly - the character is a little underwritten (the fact that she's a single mom barely factors into the film, her daughters appearing for only one brief albeit charming dance sequence), but she doesn't feel that way in Tomei's hands. Grant and Tomei share a sweet, credible chemistry, if not exactly a combustible one, and this adds weight and colour to their unlikely on-screen relationship.

Given the nature and quality of Grant's earlier collaborations with Lawrence, most people probably aren't expecting The Rewrite to be anything more than a fun but forgettable rom-com, designed to entertain rather than to engage. And yes, as most people would imagine, the film doesn't reinvent the wheel and its plot is as predictable as it gets. But, as Keith realises during the semester, there's always time to look at things with a fresh eye - to give someone or something a second chance - and The Rewrite, imbued as it is with such welcome wit, heart and maturity, very much deserves that consideration.

Early this year, this reviewer went to see the 2013 film 'Love Is the Perfect Crime', a French-language film about a student-seducing literature professor, with plenty of bloody murder and mayhem. By contrast 'The Rewrite', from Castle Rock, is a gentle comedy set in the academic world of Binghamton, New York.

'The Rewrite' tells the story of a washed-up script-writer who is forced to take up a job teaching script-writing. The decent trailer for this film shows this, and the selection procedure for the class, which we quickly get to, and so gives you a good idea what to expect in the film. Hugh Grant plays the part of this writer-turned-teacher.

Hugh Grant has previously given us classic comedies, such as 'Four Weddings and a Funeral' (1994), 'Mickey Blue Eyes' and 'Notting Hill' both of 1999, and 'About a Boy' (2002). In 'AaB', Mr Grant played a one-hit-wonder pop-star trying to fill the rest of his life, so this role is somewhat similar.

In a recent interview Mr Grant described how his life had taken a dramatic change in recent years, which forced him into political activity, thus also forcing him into having a much lesser role in the movie business. With regard to 'The Rewrite', Mr Grant said that audience reaction now made him realize that his age prevented him from playing certain scenes, and one true-life scene had him looking back unable to capture his former glory.

Thus this film, 'The Rewrite', in reality, can be seen as a turning point, where the previously foppish young Hugh Grant, has now turned into the now mature Hugh Grant. This real-life journey for Mr Grant, is one that is also faced by his character in this film, thus does the art imitate real-life.

The realistic scenario for this film was written by Marc Lawrence, who previously wrote the classic 'Miss Congeniality' (2000). One cannot help wonder how autobiographical the one-hit-wonder script-writer plot is. Certainly all the Hollywood-related scenes have a truly authentic feel to them. Marc Lawrence, who directed, as well as wrote, this film, and actor Hugh Grant, have given us a vision of life that seems very believable.

What must be stated, is how good Mr Lawrence's script is. Nearly every line is clever and funny, though if you laugh-out-loud you may miss the next line. There are also some poignant moments in the film too, and these are expertly directed, and are expertly conveyed to us, sometimes just by using silence. Tremendous!

Director Marc Lawrence is Brooklyn-born, as is leading-lady Marisa Tomei. Miss Tomei did the lovely rom-coms 'My Cousin Vinny' (1992) and 'Only You' (1994). In more recent years, she did the more serious 'Before The Devil Knows You Are Dead' (2007) and 'The Wrestler' (2008). Miss Tomei turned down appearing in the 1994 film 'Four Weddings and a Funeral'. Here, at last, she plays opposite Hugh Grant.

Miss Tomei's character is an optimistic and pushy mature-student, with a very full life. However, unlike Jason Alexander's 'Seinfeld' character George Costanza, who admitted "I have a thing for Marisa Tomei" in 'Seinfeld' (Series 7, Episode 14), Hugh Grant's student-seducing character strangely seems unable to lift his eyes from the young bit-of-skirt to see Marisa Tomei. "What's not to like!" as George would say. NB Castle Rock made 'Seinfeld'.

The plot of 'The Rewrite' has our jaded LA-based script-writer relocating to small-town Binghamton. Thus, it is similar in theme to 'Groundhog Day' (1993), in which the jaded weather-man has to leave New York to meet Punxsutawney Phil, the groundhog, in "rural Pennsylvania". How appropriate it is then that this similar rom-com plot, again has Chris Elliott in a supporting role.

There is also good support from the supporting-cast who make up the motley-crew of the screen-writing class. Serious actor JK Simmons, who has appeared regularly in several of the Law & Order TV franchises, and who terrified us in the TV series 'Oz', here gets to do some touching comedy. Allison Janney too, gives strong support.

Australian-born Bella Heathcote has the biggest part in the writing-class, and she acts it well, but perhaps the more poignant scenes were with Andrew Keenan-Bolger, and particularly, Steven Kaplan, who was in the best scene in the film.

The clever and funny script teaches us a little about the English language, script-writing, and life in general. Suitable to those in education, and also those interested in film-making, as well as all others, this film is surprisingly realistic, and has a clever and funny script, as well as some thought-provoking moments.

What's not to like! 10/10.

PS. Jumping out of my seat at the start of the credits, this reviewer nearly missed some nice scenes that accompanied the credits, so do stay to catch them, as they are well worth seeing.