Happy Endings

This is worth renting. Not a classic but a distinct original with many commendable performances by a large cast of recognizable talent.

Now, keep in mind that this is a rambling soap opera crammed into roughly two hours. In order to keep pace, you'll need the following plan. First, get a nice cappuccino. Get your bathroom breaks out of the way, and put your phone on silent ring and maybe discourage visitors because if you blink or walk away from this for even a moment, you will miss something and it will be tantamount to the story.

This is very original though not too stylish. I don't know if everyone comes from this feeling better about the human condition or having enjoyed their time spent watching it but you need to be aware that this is an exercise in listening and paying attention, which will challenge many. If you fall into the category of "many," maybe this isn't for you.

If you like entertainment that takes you away from the formulaic layout and typical dialogue that you can see coming, this will not disappoint.

Enjoy and may you all have happy endings of your own-whatever they may be.

Don Roos wrote and directed this lively, sometimes poignant, but not especially funny comedy-drama centering around an abortion counselor's secret that she had given birth to her step-brother's baby when she was a teenager and quickly gave it up for adoption. In this role, Lisa Kudrow really excels with the writer-director's dryly observant style: she's loose but not flailing, inquisitive but not harping, apprehensive but not frightened. Kudrow (whose comic timing reminds one of Roseanne's in the early years of her TV sitcom) mixes a look of anxiety, despair, nervousness and anticipation with astonishing skill--even when her character is humiliated (or humiliates herself), Kudrow has a way of keeping all the flightiness grounded in some form of reality. Matching her, Maggie Gyllenhaal and Tom Arnold have some wonderful early scenes; she's a born user and a killer karaoke singer, while he plays the father of the gay 21-year-old drummer whom Gyllenhaal has already seduced and discarded. It's too bad we don't get more of this relationship, and also unfortunate that Roos covers up most of their dialogue with soundtrack music (it's a coupling which happens in montage). Roos plants little subtitles throughout the movie to help sort out who's-who, and this works to some degree (yet it's a relief when the device is momentarily given a rest). Some of the other story threads are dim (a couple of which center on gay men turning their homosexuality on and off like a light-switch), but Kudrow's work and Tom Arnold's natural, easy-going presence keep the film absorbing and often appealing. And nobody sings "Just the Way You Are" like Gyllenhaal. **1/2 from ****

Vignettes are a tricky business. To make a film with more than three main stories to follow that interconnect and are unified in some significant way is a challenge. "Love, Actually" is one of the only recent films to successfully pull this off, using Christmas and love as a unifying factor. Don Roos' "Happy Endings" uses ... love? happiness? sexuality? infatuation? It's not clear, and making all the vignettes cross-connect with each other doesn't satisfy what we look for in these movies. Each vignette should essentially tell the same message in a different way. "Happy Endings" has several original concepts, but the connection is obscure and hard to draw.

Roos ("The Opposite of Sex") essentially tells three stories: First follows Mamie (Lisa Kudrow) and the documentary she helps aspiring filmmaker Nicky (Jesse Bradford) make about her masseuse/lover Javier (Bobby Cannavale) so that she can find out information Nicky has of the son she gave away at birth when she was 18. The second follows the father of that child, Charlie (Steve Coogan), who is now gay and convinced that his partner (David Sutcliffe) is the biological father of their lesbian friends' son, whom he donated sperm to once and it supposedly didn't work. Last is Jude (Maggie Gyllenhaal), a free spirit who meets Otis (Jason Ritter), a young man that works in Charlie's restaurant who is hiding his homosexuality from his rich father (Tom Arnold). Jude promises Otis that she won't say anything if he doesn't spoil her plan to become involved with his father for the money.

That mostly covers the labyrinthian complexity of "Happy Endings," which despite it's courage to choose such unique scenarios , doesn't seem to ever make clear sense. It's all quite interesting, as this is relationship drama we've never seen before, but there are a lot of emotions flying around and motivations that seem to lack sources. It probably all made sense in Roos' head, but it doesn't convert.

The acting talent isn't necessarily lacking either. This is the best performance I've ever seen Kudrow give in a film -- she reminds me of another Annette Bening. Gyllenhaal is also one of the more complex (in the intriguing way) characters and she draws the widest variety of emotions from the audience as she crosses a fine line between sincerity and deception. Although the characters are interesting, however, we mostly feel just apathy because the snippets we get of them are more puzzling than revealing.

Another unique technique that Roos employs is adding subtitles that give away little pieces of information about the characters as we watch them, whether it's what happens in the future to them or a secret they have. It's supposed to add a unique twist to what's being shown on screen, but it's hard enough to make sense of what's going on on screen as it is. It's not a bad idea, but it just saturates this film even more.

Watching vignettes interconnect is always entertaining and interesting, but "Happy Endings" is overstuffed and it creates a disconnect between the characters and the audience, which no amount of character interconnectedness can solve.

Filmmaker Don Roos brings a unique perspective to his films, and this omnibus 2005 film exemplifies his idiosyncratic style quite well. Even though it doesn't work in its entirety, it has a great ensemble cast and some really sharp observations about a loosely connected group of people who have in common a certain disassociation with the inner truths in their lives. In fact, the deceptive nature of the characters is the movie's leitmotif, and Roos crosscuts their interactions with helpful title cards that often explain their inner motivations for their actions.

There are three basic stories that constitute the film, which recalls the multi-layered, somewhat enervated spirit of Robert Altman's "Short Cuts" especially given the LA-based ennui both films portray with accuracy. The first story deals with step-siblings Mamie, who as a teenager, had a one-night stand with her stepbrother Charley. Years later, Mamie is an abortion clinic worker, while Charley, gay and partnered contently with Gil for five years, runs their long-dead parents' last remaining restaurant. Both siblings have their own storyline - Mamie meets Nicky, a grungy filmmaker who wants her to participate in a film about meeting someone from her past. However, she convinces Nicky to make another film entirely about her intermittent lover Javier's massage practice.

The second story revolves around Charley's obsession with the paternity of a son which their lesbian best friends have just conceived. This leads to unexpected revelations that backfire on Charley. The third story focuses on Otis, a closeted teenage drummer who works at Charley's restaurant. Otis meets Jude, a vagabond singer who favors Billy Joel ballads and beds Otis in order to have a place to crash. Once established in the palatial home, she also attaches herself to Otis's divorced father Frank. It all sounds complicated and sometimes feels quite erratic, but Roos makes the film intriguing to watch.

The acting certainly helps. As Mamie, Lisa Kudrow again shows how she can use her somewhat flaky persona in an arresting way that can be funny and heartbreaking. Steve Coogan effectively brings out Charley's neuroses, while Jesse Bradford is convincingly suspect as Nicky. The underutilized Laura Dern doesn't really have much to do as one-half of the lesbian couple (Sarah Clarke is the other half), while Bobby Cannavale gamely brings out the swarthy gamesmanship of Javier. Jason Ritter (the look-alike son of the late John Ritter) plays Otis with the right amount of confusion and anxiety. As the bonhomous Jude, Maggie Gyllenhaal (Jake's sister) gives a shrewd performance that never borders on the obvious, while Tom Arnold surprises with a subtle turn as the comparatively innocent Frank.

The DVD has an alternate commentary track with Roos, Kudrow and cinematographer Clark Mathis, as well as ten deleted scenes of varying quality and three scenes that constitute the lacking gag reel. During the final film's lengthy 128-minute running time, there are scenes that seem to drift with no reason and character motivations that go unexplained. Regardless, the film is definitely worth seeing.

Having tremendously enjoyed Don Roos' previous effort, the Opposite of Sex, I snapped up Happy Endings upon release of the DVD without knowing anything about it. Many of my friends didn't like the Opposite of Sex; when I asked them why, each confessed a dislike of Lisa Kudrow. When I noticed she was also in the cast of Happy Endings, and in fact plays one of the main characters, I figured I'd better shut up about mentioning my latest acquisition to some of those friends until I had a chance to watch it. Watch it I did, and I have nothing but good things to report. Like the Opposite of Sex, Happy Endings revolves around several gay and straight characters, with enough attention paid to both, thus ensuring that the film could appeal to a mixed audience. There is where all similarities end. While Opposite of Sex had a relatively up-front and focused plot, Happy Endings manages to juggle several plots and subplots all at once. Each of the characters lives touch other characters lives in a style not unlike that of director Robert Altman. In fact, I kept thinking that the pacing and juggling of the subplots was somewhat similar to Short Cuts, or even Crash (in the way that Crash was also compared to Altman's style). Keeping everyone sorted out in my mind became something of a chore, but I generally like films that make you think and keep you on your toes. There were one or two surprises, including several totally unexpected plot twists, and that's always good too. As a comedy I didn't laugh so much as I smiled, and I asked myself more than once, "I wonder what will happen next". As the end credits were rolling I decided I enjoyed my visit with these people, and could easily have managed to sit though even more. How often do you hear that about a movie that runs over two hours?

The cast, which includes Tom Arnold, Jason Ritter and Jesse Bradford give even and professional performances throughout. It worked in a way that good ensemble pieces always work; that is, it would be difficult to single out any one member of the cast, as they worked off each other in such a way that no one could expect all the notices. Another good thing, in my book. I am definitely going to suggest to my friends that they give Don Roos another shot, Lisa Kudrow and all. I can certainly think of worse ways to spend a couple of hours.