Flannel Pajamas

Film follows the relationship between two thirty something New Yorkers through their first date, courtship, marriage, and eventual breakup. Interesting concept but this film is in dire need of an editor.

Film begins with a blind date at a diner where the two main characters meet. I was looking forward to experiencing the initial awkwardness of the first date; the small talk and uncomfortable moments which would then gradually transform into two people connecting on a more intimate level. Instead, the film starts mid date at the diner with the main characters and their friends who are distracting and don't need to be there. To make matters worse, Stuart (Justin Kirk) comes off as arrogant, and a bit smarmy. Nicole (Julianne Nicholson)is a mousy, dull young woman who appears to lack confidence. If you don't like the characters, who cares whether they like each other? A subsequent scene has Stuart in the rain lying his jacket between the curb and the cab so Nicole doesn't get wet, then leaves it there. This comes off more stupid than charming.

As the film progresses, Justin Kirk as Stuart does begin to tone things down and the character starts to become more likable as the couple's relationship develops. But then, Nicole begins to become more selfish, childish, and immature. Nicole's change in her feelings toward Stuart seems to come somewhat out of the blue. All this results in an ending that is a downer and a bit puzzling. The actors do what they can, but the writing, directing, and editing let them down.

Lots and lots of dialog here and unnecessary scenes that don't move the story. Also, several unnecessary characters and plot lines are introduced but fail to have much significance. Decent supporting performances, however, especially by Rebecca Schull as Nicole's mom. Also a surprising amount of nudity by both lead characters which was tastefully done.

"Flannel Pajamas" does have some important things to say about the difficulty in sustaining relationships today, especially with so many outside influences such as family, friends, and careers. Still, I'm not convinced that investing two hours in these characters was quite worth it.

Greetings again from the darkness. Having seen the trailer a few times, I had pretty much decided this was not one I would see. Then I saw Roger Ebert raving about it and since he is a movie critic god, it was obvious I needed to see it.

Now I am not going to write the great Mr. Ebert and ask for my money back, but I must admit I am somewhat baffled by his comments. While there are moments of brilliant intimacy, for the most part this movie is just about the arc of 90% of the relationships today. I wish that were more of a compliment, but instead I compare this to "Before Sunset", the obnoxious remake to Richard Linklater's 1994 gem "Before Sunrise". In other words, it is 2 plus hours of listening to two fairly unlikeable people TALK incessantly about themselves and their relationship. This is definitely no "My Dinner With Andre".

Of course, writer/director Jeff Lipskey tosses is many more characters ... probably too many ... to show the complexities within this or any other relationship. Julianne Nicholson and Justin Kirk are the couple and while Ms. Nicholson exudes a camouflaged charm, Mr. Kirk is little more than a smarmy, unable to communicate about anything important dude who is just like most guys. We pretty much dislike him from the opening scene in the café when his self-centeredness is obvious to all but Ms. Nicholson.

I know little of Mr. Lipsky, but I am not sure if his objective was to visualize the issues of most relationships, point out the lack of judgment exhibited by most women when choosing a partner or some other deep philosophical issue. All I know is that the ending was obvious from the inane opening sequence, although there were some very poignant moments in between.

The best part of the film may be the closing credit song "Thursday" by Asobi Soksu. As for Roger Ebert, my opinion of him is not damaged one bit, as what makes watching movies so wonderful is the slight chance that one may hit you where it counts. "Flannel Pajamas" did this for him, but not for me.

Flannel Pajamas was intelligent. The dialogue is exceptionally well written and manages to keep the viewer in the movie - as most good "Indie" flicks often do. It is more of a character/relationship study than anything. These types of movies often get overlooked when it comes to critics or the general public. It is understandable how someone who likes "XXX" with Vin Diesel would hate this movie - opposite ends of the spectrum. Likewise, for those of you that loathe the unimaginative huge budget big-named action films that pollute Hollywood and movie screens across the country, you'll love this one. Flannel Pajamas is a much needed break from the mainstream.

Julianne Nicholson and Justin Kirk have excellent chemistry together, doing a superb job of portraying a couple adapting to modern-day problems that threaten to tear them apart. It comes together as a poignant love story of opposites attracting and making it work.

Jeff Lipsky's touching, poignant, and strikingly honest portrayal of a young couple's long-term relationship—from the initial meeting during a tempestuous blind date to their highly libidinous courtship to their marriage and ultimate downfall—engenders a film that, for once, is truly deserving of the comparison to the inimitable work of John Cassavetes and Mike Leigh.

Quiet (no music that I can remember, less the title credits and the absolutely fantastic original song from the trailer that was tacked on to the end credits), stark, and extremely naturalistic in its execution, FLANNEL PAJAMAS is one of those truly adult films in line with the ilk of Mike Nichols' CLOSER, in which there is no room for clichés, no time for hackneyed aphorisms, and only an earnest reality presented in a forum that is always vivifying, sometimes humorous, and wholly infused with the utmost humanity.

Treat yourself to a cinematic love affair via the extremely personal, impressively detailed romantic drama Flannel Pajamas. In what is surely one of the most perceptive and intelligent scripts to emerge this decade detailing the intense highs and lows of a relationship, viewers are treated to an insiders look at the birth, fruition and eventual apathetic demise into one of the most richly detailed and believable love stories recently released. Credit the realistic script from director Jeff Lipsky, and two stellar, honest and open lead performances from Justin Kirk and Julianne Nicholson for skyrocketing this modest indie production into the history books of romantic cinema.

In detailing the exquisitely realized courtship, Lipsky's script (occasionally clunky and verbose amongst a majority of truthful ranting) taps into both harmonizing and colliding mentalities with equal passion and resonance, coming across as if were actually penned by two extremely intimate lovers. The amazing comfort these two leads bring to the table only helps bring the richly detailed dialog past the point of a petty fictionalization, and almost let's the viewer live vicariously through their most intimate moments in a completely engaging and believable manner. These characters may not be fleshed out to the satisfaction of some viewers and may remain irrelative to even more, yet the objective analysis this filmmaker has dedicated into studying the mechanics behind their vested interest remains unshakable. Of course, most films would be not be complete without some flaws, and for all the sheer integrity invested in portraying the sanctity of this partnership in a truthful light, the small budget feature does become bogged down with subplot's, supporting characters, and a weary conclusion that does not quite know how to finalize itself.

Suffering from your typical "third act syndrome", Flannel Pajamas follows a captivating lover's arc into a final act that betrays the intense honesty and character integrity found throughout for a resolution that feels ambiguous at best, and a closing scene that feels entirely unintuitive. Still, more mature, dialog-driven viewers will be hard pressed to find anything as substantial in the way of an honest love story told in the most human way possible that has come out in recent memory, which more then makes up for a weak conclusion.