Purple Violets

I'm not sure what the deal was with the reviewer before me. Apparently Ed Burns must've urinate in his corn flakes the morning he wrote the review, because it is scathing and hardly true to the content of the film. Overall the movie plays similar to other Ed Burns films. The music selection is pretty good, and most of the storyline is contingent on the dialogue and character relationships. The lead roles were solid all around. Patrick Wilson, played his character effectively and simply, as necessary. Burns roll was reduced but still charming. Selma Blair was also convincing. The notion of Debra Messing looking like a man in drag is pretty far fetched. She looked great in the film, and her part was small but well played.

Referring to Edward Burns as being a women is way off course. The previous reviewer apparently came off of a 10 day Michael Bay film binge when he wrote his review, so obviously he would have no comprehension on what makes a film succeed. This movie has authentic dialogue with believable character dynamics, which is as much as you can ask for in any movie. As I mentioned before, if you like Edward Burns as an actor, director, or both, you will get enjoyment from this movie. If you are a JJ Abrams nut, can't understand how emotion and dialogue are used in a film, and are afraid to even fathom the notion of romance in the film, then you may not like this movie. You could always look up the previous reviewer and check out a Larry the Cable Guy film with him.

Found this Ed Burns movie funnier and more attractively filmed than some of his other movies. College girlfriends and boyfriends reconnect after 12 years. Some funny jokes about writing. It does show relationships from a guys point of view for a change. Liked the way Patrick Wilson's character was the good guy and Selma Blair's was the difficult one. There are many relationships like that.

Selma Blair is pretty here. Debra Messing comes off has hard. Ed Burns doesn't monopolize and that's good. His voice can be grating. The Hamptons house and apartments in the city are a nice backdrop.

Worth one watch.

Patti (Selma Blair) and her best friend, Kate (Debra Messing) are meeting for dinner at a Manhattan restaurant. Patti is an aspiring writer who has detoured into selling real estate, to pay the bills, and is married to a smug chef while Kate, a lovely schoolteacher, is still single. Lo and behold, the two women are amazed to see a pair of their ex-flames having dinner at a table not far away. Brian (Patrick Wilson), who was once very much in love with Patti, is now a very successful detective novelist who yearns to break free from the genre. Michael, Kate's past boyfriend, is, at present, a lucrative lawyer, since he sobered up and got serious. Naturally, the chance meeting is a heart stirrer. Patti's marriage is on the rocks and her still-strong attraction to Brian is real. Opposingly, Kate wants nothing to do with Michael, given his past infidelity, but it soon becomes apparent that the lawyer is ready to court her again. Will there be a second chance at love for either of these couples? First, let me state that I am a huge fan of Burns, who is first rate as a writer/director. His past work, including Brothers McMullen, She's the One, No Looking Back and, especially, the hard-hitting Sidewalks of New York, are exemplary examples of independent successes. However, this one is not quite on their level, which doesn't mean it is not worthwhile. It is. To begin, the four principal actors, Blair, Wilson, Messing, and Burns himself, are all attractive, capable thespians. They are a pleasure to watch. The supporting cast, which is includes the razor-tongued Dennis Farina, is also fine. The Manhattan setting, Burn's obvious home turf favorite, is nicely shown while the costumes, photography, and Burns' skilled direction are pluses, too. Most of all, the script, which is uneven, has some good messages about creativity and commercial success, which sometimes do not go hand in hand. Some of the film's best moments come from Wilson, at his book signings, who shows exasperation at some of his one-dimensional fans. No, its not "Misery" but the philosophy presented is the same. In short, if you like romantic comedy and Burns' smooth style, grab this one off the shelf, too.

I have to say, I liked "Brother's McMullen" and "She's The One" when they came out and find them to be in the same New York Tradition as a lot of the other dying breed of New York Romance genre films. I also enjoyed that I could download it via iTunes instead of having to make a day of it to see it at one of the few theaters that still shows independent movies.

Although not his best work, I think Purple Violets is still a laudable addition to Burns filmography.

In regards to the comments by Micheal C., I think he must have recently gotten a parking ticket, or woke up in bumper to bumper traffic because clearly he isn't seeing the same film as others. As far as the story not making any sense...what in particular didn't make any sense? In one story line you have a woman who is dealing with a husband who is increasingly unavailable and dealing with emotions from a love of her past.

In another storyline you have an alcoholic lawyer who is making amends with his past, and maybe hoping that in addition to forgiveness he can find his way back into the heart of the love of his life. You may think that the story is unrealistic, a skeptic or jaded person might even find the whole romantic aspect to it dated, but it hardly is nonsensical.

As far as Characters being obnoxious and performers overacting, and script rife with clichés? This comment writer must have been watching the latest iteration of Peter Pan or Tarzan, but certainly not this movie. Ed Burns himself cannot be considered an over actor. If anything he is usually more cognitive than emotive. I think that all the players, save Messing, stay well within acceptable norms of behavior in regards to "overacting." The only character I found to be uniformly obnoxious is Donal Logue, who played Blair's British husband, and he was supposed to be obnoxious. Interesting note: I have only seen my sister's husband who is a chef cook once and I have eaten with them many times. The last thing they want to do when home is cook anymore. Finally as far as cliché goes, each romantic movie is going to have a bit of cliché in it. But there is always the aspect of character to make it at least something to follow and get into, and I think the characters in this movie offer that, and in fresh new ways. Besides, you really can't have it both ways, either a script makes no sense (not cliché) or is predictable (cliche) you can't have it both ways. I think the film balances some age old romantic plot devices with some new fresh commentary on various aspects of modern life.

As far as it being the worst movie the writer had seen all year, the comment writer must not get out much. I have seen many worse movies over the span of the year. Some I have forgotten, others I wish I could forget.

I don't think the writer of said comments actually watched the movie and seemed more annoyed by small aspects of it. For instance, his wife does not catch him masturbating to internet porn, but to 900 numbers. And although one can be annoyed at people with money carping about unhappiness, it does happen. Money does not make problems go away.

Hate to say this, but not all writers sit around and bat witticisms to one another while sipping Manhattans, and I bet there are many lawyers who don't get that much into their clients business. Finally, it is a movie, if you wanted it to be a true life biography about a writer watch Faulkner week on the history channel.

That being said, it takes all kinds.

I know Ed Burns. He writes movies about Irish American families in New York and they have heart and a lot of soul. And truth, honesty. Purple Violets isn't one of those movies.

I loved Selma Blair and Patrick Wilson. They shined ... Debra Messing gave an embarrassing performance. Her take on her character was a caricature of it and she apparently approached it like a sitcom, as opposed to an independent film. Luckily, she's done other vehicles since.

The story was lacking in purpose and commitment. Wishy-washy, should I write, shouldn't I? The characters ... well honestly, other than Patti and Brian, I didn't really care about them. And I didn't really care that much about Patti and Brian, either. It was not the Ed Burns I've come to love, with his handsome, crooked grin, and vulnerable, yet street-smart sensibilities.

They call Ed Burns the "Irish Woody Allen." Sometimes I think when Ed Burns tries too hard to BE Woody Allen, he falls way short. Ed writes great stories about very close friends and family and the intricacies of their relationships and situations, but things we all go through. He pulls out the microscope, so to speak. You KNOW these people. And while being very funny and sarcastic, he's sensitive and honest.

What he tried here was far too broad. Out of the "family" context, his characters were too normal and not nearly as neurotic as they could/should be. When you write about people who are not with each other on a daily basis, you have to give them a reason to be together. He should just be himself, write what he knows best: deeply flawed, working-class, Irish American New York families and the people who touch their lives. That's when he shines, that's when he grabs your heart.