VALUTAZIONE IMDb
5,4/10
920
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaWhen her daughter Sara (Davalos) unexpectedly passes away, Natalie (Keaton) retreats to the summer home where she and Sara used to visit. Time with her best friends and some of Sara's friend... Leggi tuttoWhen her daughter Sara (Davalos) unexpectedly passes away, Natalie (Keaton) retreats to the summer home where she and Sara used to visit. Time with her best friends and some of Sara's friends help her deal with her loss.When her daughter Sara (Davalos) unexpectedly passes away, Natalie (Keaton) retreats to the summer home where she and Sara used to visit. Time with her best friends and some of Sara's friends help her deal with her loss.
- Regia
- Sceneggiatura
- Star
- Premi
- 2 candidature totali
Ron Christopher Jones
- Gay Bar Patron
- (as RC Jones)
Recensioni in evidenza
Who eats ice cream out of a cup with spoon while driving a car, having a conversation, and feeding ice cream to the other passenger? Why not close your eyes and take your hands off the wheel like Diane Keaton chose to do after she learned her only child DIED IN A CAR WRECK? This kind of bad writing insults the audience. Then, the actors, who are supposed to be the deceased Sarah's best friends, continue on with their vacation and the deceased girl's grieving mother joins them so she can get closer to Sarah's private life while she grieves the loss of her only child. Who does that? Before the diary was ever read, I knew it contained the poor dead girl's burdens of feeling like she had to be her mother's universe. And what was the deal with that hideous growth on that poor waitress' chin? What was the point to that? Was there some symbolism there besides she must not have a best friend because if she did, her best friend would tell her to shave her beard? This, coming from a girl who clearly would rather spend all her time with a homosexual man than take a risk of developing a relationship with a man who is not the husband of her best friend. Who is the best friend that tells you she's sleeping with your husband? I had a hard time liking Sarah after that. The plot gets more annoying as it becomes obvious that the deceased girl's mother not only tried to control every minute of her only daughter's life, but also had to invade her private relationships with her friends after she was dead, as if Sarah is her possession, or as if she is still a small child and has no rights to privacy as an adult. And can Diane Keaton over-act or what? This is really a story about how suffocating a mother's love can be even with the purest of intentions, especially for an only child. I found myself watching the clock to see when this nerve wracking mess of a movie would end.
Although the casting for this film was admirable, particularly Dianne Keaton and Tom Everett Scott, the quality of the writing was so poor that it would be impossible for any actor or director to make this film worth watching.
My wife and I decided that the reason we watched the entire film was that it was like a train wreck, and it was almost impossible to turn away. It may have been that we "hoped" that the message would eventually make itself apparent, and that we would be able to glean some meaning from this effort. Unfortunately, this did not happen.
Of course the audience may have been able to "make sense" of this convoluted tale, a credit to the ingenuity of the human brain to make sense of the absurd. The writers, however, did NOTHING to facilitate this innate need we seem to have for finding meaning.
It was apparent that those involved were simply going through the motions of their respective crafts, and that any intrinsic passion for the characters or the story was either secondary or non-existent.
Unfortunately, made-for-TV movies have seemed to devolve over the years. Whereas communicating a message to the audience may to have been the primary interest of the writers in the past, present-day writers and producers seem condescending to their audience, concentrating primarily on manipulating us to "stay-tuned" through the incessant advertising which seems to be the only reason movies such as Surrender, Dorothy are made.
My wife and I decided that the reason we watched the entire film was that it was like a train wreck, and it was almost impossible to turn away. It may have been that we "hoped" that the message would eventually make itself apparent, and that we would be able to glean some meaning from this effort. Unfortunately, this did not happen.
Of course the audience may have been able to "make sense" of this convoluted tale, a credit to the ingenuity of the human brain to make sense of the absurd. The writers, however, did NOTHING to facilitate this innate need we seem to have for finding meaning.
It was apparent that those involved were simply going through the motions of their respective crafts, and that any intrinsic passion for the characters or the story was either secondary or non-existent.
Unfortunately, made-for-TV movies have seemed to devolve over the years. Whereas communicating a message to the audience may to have been the primary interest of the writers in the past, present-day writers and producers seem condescending to their audience, concentrating primarily on manipulating us to "stay-tuned" through the incessant advertising which seems to be the only reason movies such as Surrender, Dorothy are made.
the best part is the silence. the worse - ambition to create a convincing story. a film who could be interesting for the taste after its end. but it is not real enough. it could be seductive for its cast. but the acting is far to be remarkable. or, the real good part could be the holes of story who are perfect places for the viewer's memories/emotions. a movie like a lot of many others. not good, not bad, not inspired or new. the theme is old, the manner to present it not original, the same idea than with a better script it could be real good work remains. a film who do not say nothing. a puzzle with too many pieces , many wrong, but useful, maybe, for a evening after a hard work day . short- good actors are not always the solution for repair a not inspired script or a not best ideas of director.
Natalie Swerdlow (Diane Keaton) and her daughter Sara (Alexa Davalos) are exceedingly close. Sara is at her annual summer vacation place with gay best friend Adam (Tom Everett Scott), his boyfriend Shawn (Chris Pine), and their married friends; Maddy (Lauren German), Peter (Josh Hopkins), and their baby. Sara is killed while driving Adam. A heartbroken Natalie barges in on the friend group's summer house.
The death of one's child can get emotionally messy. That's why I can excuse the abundance of anger from Natalie and Adam. This is a mess of emotions. It is a messy movie. I choose not to wallow in the mess, but rather accept it for what it is.
The death of one's child can get emotionally messy. That's why I can excuse the abundance of anger from Natalie and Adam. This is a mess of emotions. It is a messy movie. I choose not to wallow in the mess, but rather accept it for what it is.
Charles McDougall's resume includes directing episodes on 'Sex and the City', 'Desperate Housewives', Queer as Folk', 'Big Love', 'The Office', etc. so he comes with all the credentials to make the TV film version of Meg Wolitzer's novel SURRENDER, DOROTHY a success. And for the most part he manages to keep this potentially sappy story about sudden death of a loved one and than manner in which the people in her life react afloat.
Sara (Alexa Davalos) a beautiful unmarried young woman is accompanying her best friends - gay playwright Adam (Tom Everett Scott), Adam's current squeeze Shawn (Chris Pine), and married couple Maddy (Lauren German) and Peter (Josh Hopkins) with their infant son - to a house in the Hamptons for a summer vacation. The group seems jolly until a trip to the local ice creamery by Adam and Sara) results in an auto accident which kills Sara. Meanwhile Sara's mother Natalie Swedlow (Diane Keaton) who has an active social life but intrusively calls here daughter constantly with the mutual greeting 'Surrender, Dorothy', is playing it up elsewhere: when she receives the phone call that Sara is dead she immediately comes to the Hamptons where her overbearing personality and grief create friction among Sara's friends. Slowly but surely Natalie uncovers secrets about each of them, thriving on talking about Sara as though doing so would bring her to life. Natalie's thirst for truth at any cost results in major changes among the group and it is only through the binding love of the departed Sara that they all eventually come together.
Diane Keaton is at her best in these roles that walk the thread between drama and comedy and her presence holds the story together. The screenplay has its moments for good lines, but it also has a lot of filler that becomes a bit heavy and morose making the actors obviously uncomfortable with the lines they are given. Yes, this story has been told many times - the impact of sudden death on the lives of those whose privacy is altered by disclosures - but the film moves along with a cast pace and has enough genuine entertainment to make it worth watching. Grady Harp
Sara (Alexa Davalos) a beautiful unmarried young woman is accompanying her best friends - gay playwright Adam (Tom Everett Scott), Adam's current squeeze Shawn (Chris Pine), and married couple Maddy (Lauren German) and Peter (Josh Hopkins) with their infant son - to a house in the Hamptons for a summer vacation. The group seems jolly until a trip to the local ice creamery by Adam and Sara) results in an auto accident which kills Sara. Meanwhile Sara's mother Natalie Swedlow (Diane Keaton) who has an active social life but intrusively calls here daughter constantly with the mutual greeting 'Surrender, Dorothy', is playing it up elsewhere: when she receives the phone call that Sara is dead she immediately comes to the Hamptons where her overbearing personality and grief create friction among Sara's friends. Slowly but surely Natalie uncovers secrets about each of them, thriving on talking about Sara as though doing so would bring her to life. Natalie's thirst for truth at any cost results in major changes among the group and it is only through the binding love of the departed Sara that they all eventually come together.
Diane Keaton is at her best in these roles that walk the thread between drama and comedy and her presence holds the story together. The screenplay has its moments for good lines, but it also has a lot of filler that becomes a bit heavy and morose making the actors obviously uncomfortable with the lines they are given. Yes, this story has been told many times - the impact of sudden death on the lives of those whose privacy is altered by disclosures - but the film moves along with a cast pace and has enough genuine entertainment to make it worth watching. Grady Harp
Lo sapevi?
- QuizDiane Keaton and Tom Everett Scott were also together in Because I Said So.
- BlooperThe baby's hair length changes as Keaton's character cuddles it in the kitchen, 2/3 of the way through the movie.
- ConnessioniReferences Il mago di Oz (1939)
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Dettagli
- Tempo di esecuzione1 ora 26 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.78 : 1
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By what name was Arrenditi, Dorothy (2005) officially released in Canada in English?
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