London Suite

The most important thing i can say now about London Suite is that, as a comedy, it's supposed to make you laugh. Well it didn't even make me smile. Not only once. Not even smile. And with that i say it all. I mean be serious! Is that humour?? No way! Every assumed gag is pointless and stupid, the actors play horrible, and that's not all. The worse thing is that it's not original. The idea looks a lot like Four Rooms. The same thing: 4 totally different stories, that happen in the same hotel. Only that in 4R they're presented one by one, and here they are all together. And in 4R they had something connecting them, and here they don't. And in 4R there was the genial Quentin Tarantino on board, here it's a bunch of talentless crew that manages to create one of the worst movies i've ever seen. Although the cast seemed promising: Elaine and Kramer from Seinfeld, Kristen Johnston from The Third Rock From The Sun, and Kelsey Grammar from Fraser and Cheers.

So if you by any chance have the chance to see this movie, DON'T. Chose anything else, but this one. Otherwise you'll waste 2 hours of your life. And life is too short to be wasted.

Vote: 2 out of 10.

This movie rocked! I taped and watched it three times in two days. I totally loved it! It's not for people who can't follow four stories at one, but I can and understood all of them.

The first story is about Julia Louis-Dreyfus, a distraught newlywed who can't find her husband for a party. 'My olive is gone.' Instead of telling the truth, she tells the guests that her husband has 'hemoglybosisis'.

The second story, and arguably the funniest, Michael Richards throws out his back. 'Mrs. Sitgood, as you can see, I'm talking to you from the floor. The floor is the only thing that kept me from landing in the lobby.' His wife, Julie Hagerty, and Dr. McMerlin try to help his back problems and end up on the floor with him.

The third story, an emotional one at best, is Kelsey Grammer, a gay man, and his ex-wife who's still in love with him. He comes to London to meet her so he can have money for his significant other, Max.

The fourth story is about Madeline Kahn and her daughter, who hooks her up with Richard Mulligan, and invites her for a night out. 'Smell my hair. It smells like I was at a five day barbecue...I'm going to be at the theater and suddenly, someone will yell FIRE!.'

Probably the funniest quote and an indicator that it's from a play was: 'Why are we talking like this? It sounds like we're talking in a musical.' This is way better than a musical. I loved it and the next time it's on TV, watch it. No excuses.

Given the enormous comedic talent involved, this was rather disappointing. The most successful comedic playwright since Shakespeare, Neil Simon, has half a dozen of the most popular American comedians of the 1990's in this 1996 production. The director, Jay Sandwich, was the main director of the two most popular American television shows of the 1970's and 1980's (the Mary Tyler Moore Show and the Bill Cosby Show).

Neil Simon always mixes together four or five plots and keeps them moving briskly. In this case three of his four separate plots go nowhere. Only one pays off.

The successful plot involves Sidney (Kelsey Grammar) and Diana (Patricia Clarkson). Diana is a successful television star hoping to revive her marriage to Sidney that broke up eight years previously. Sidney has been living as a gay man on the Greek island of Mikonos for those eight years and has come to meet Diana for an entirely different reason. The performances here are subtle, sharp, sensitive and sweet.

Julia Louise Dreyfus and Johnathan Silverman try to work a plot about a newlywed who loses her husband at the airport. Dreyfus is pure slapstick, twisting,turning and rolling her eyes to simulate her hysteria at losing her husband. Silverman arrives too late and is too laid-back to improve things. At one point Dreyfus is supposed to be drunk and says to a waiter, "I'm drunk, can't you tell?" In fact, she acts drunk throughout, so it is hard to tell.

Michel Richards and Julie Haggardy do more mainly physical slapstick as a man with a bad back and a wife who loses her husband's Wimbledon tickets. This seems to go back to television sketch comedy of the 1950's. One could imagine Sid Caesar or Milton Berle wringing the same laughs from the material. Richards is in his element with the physical comedy, so there are a few laughs here. Brits, Paxton Whitehead and Jane Carr brighten up this episode.

Madeline Kahn and Richard Mulligan go on a mismatched date which leads nowhere. It reminded me of the old television show "Love American Style". There are a few faint smiles but no laughs here.

I would say, if you're a Neil Simon fan, see it for the wonderful acting of Kelsey Grammar and Patricia Clarkson, but don't expect anything from the other stories. As a whole, it is sub-par Neil Simon, but at least 25% of it is solid Neil Simon at his best

This t v made production has a cast of lots of talent, but no script and sequencing which makes little sense. If there are any entertainment values in this, it is if you want to see a cast member & a little cheeky British humor.

Michael Richards is a good physical comedian. This film takes him & disables him after the first sequences with a bad back. That pretty much sets the mood for the abuse that the script makes of the cast. Kelsey Grammar is a good verbal comedian- so have him somber because he has an incurable disease.

The only near chuckles in this a a couple of cheeky sequences in Richards room after he is prone with the bad back. Other than that, this film has little to offer. Interestingly there is a sequence in front of a building in London when a bus with a banner about a US state, Pennsy. drives in front of the building on the street. That makes me wonder if that was deliberate, or did they do some back drop filming in the US?

One has to feel that Jay Sandrich, as director, has to be responsible for the weak performances from this collection of usually reliable actors. With the exception of Michael Richards and Madeline Kahn, the credited actors turn in truly shocking performances. As for the Scottish and Irish accents from Richard Mulligan, Paxton Whitehead and Jane Carr, words fail me. These are trained actors?

Thankfully, the uncredited William Franklin, was, as ever, the consummate professional. If he watched the rushes, he probably requested to be left off the credit list.

How Simon must have shuddered.