Late Bloomers

Late Bloomers

(2011)

Isabella Rossellini and William Hurt are a couple struggling to adjust to retirement in this romantic comedy-drama. From writer/director Julie Gavras (Blame it on Fidel).... More

Adam (Hurt) is a London-based architect horrified to find himself the recipient of an award that suggests he's reached the end of his career. Meanwhile, his wife Mary (Rossellini), taken aback by an unexpected health scare, sets a course of radical action in league with her vivacious best friend Charlotte (Joanna Lumley). As the married couple respond to their twilight years in unpredictable ways, infuriating each other in the process, their three adult children plot to find ways to keep them together.Hide

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Flicks Review

Older people are often overlooked for lead roles on the big screen, excluding recent hits The Best Exotic Marigold Hotel, Beginners and the action flick Red. Late Bloomers is another film focused on the twilight years, a romantic comedy that strives for levity but feels as easygoing as hanging out with a forgetful curmudgeon.... More

The title would have you believe it’s a film about experiencing a newfound fulfilment or awakening in retirement. Instead it’s a slice of life tale about the travails of ageing and its effects on a marriage. Despite convincing performances from its respectable cast – Isabella Rosselini, William Hurt and Joanna Lumley – it’s not always easy to swallow the idea that a couple’s relationship is faltering simply because they are confronting later life differently. Mary wants big buttons on the telephone and grab bars in the bath, Adam would rather drink Red Bull and hang out with his younger colleagues. That’s too slight to derail a relationship so writer and director Julie Gavras throws in a few cliches – lusty dalliances with an office-worker for him, an encounter with an attractive younger man for her.

Sometimes the problem is simply editing; a scene in which Mary struggles with aqua aerobics quickly wears out its punchline, and a glaring continuity error ensues when Mary’s earrings mysteriously disappear despite the camera lingering on her neck. At others, it’s unlikeable characters forced to deliver self-conscious lines: Adam’s friend takes him to a whore house for a chat and Mary’s elderly mother says of her great-grand kids, “I don’t know which I hate more: future suits or future sluts.” There are better witty barbs but they’re too few and far between, as this odd comedy lurches between the truthful and artificial. And as more characters are introduced – some in particularly unbelievable ways – the narrative becomes so confused the film loses the plot altogether. Late Bloomers has its moments but mostly feels like an uncomfortable romp into old age.Hide


The Peoples' Reviews

Average ratings from 1 ratings, 1 reviews
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BY Gerd superstar

The leading actors show strong performance. A lovely movie that asks for fine-tuned listening and some emotional intelligence to be understood.


The Press Reviews

20% of critics recommend.
Rotten Tomatoes Score. More reviews on Rotten Tomatoes

  • As a portrait of aging, Late Bloomers is a little too easy, but its cast makes it worth a look, even so. Full Review

  • An uneven but touching comedy with a cheery score that sounds too much like whistling on the way past the graveyard. Full Review

  • Moves at a poky pace even by American indie standards. But it's worth checking out for the fine cast... Full Review

  • As more characters, including the couple's three children - enter the picture, Late Bloomers loses its narrative thread and becomes so choppy that you have the sense that it was butchered during the editing process. Full Review

  • Extra discredit to the embarrassingly jaunty score by Sodi Marciszewer, which should be taken behind the recording studio and shot. Full Review

  • While the world could certainly use more films about characters entering their sunset years, a solution as toothless and saggy as Julie Gavras' Late Bloomers does little to help the cause. Full Review

  • She (Rossellini) is radiant in a profoundly ordinary and believable way, as always, and stirs up generational pathos all by herself. Full Review

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