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Though it doesn't quite live up to the source material, this adaptation of three Isaac Bashevis Singer short stories is poignant and charming.
All Critics (24)
| Top Critics (14)
| Fresh (17)
| Rotten (7)
| DVD (2)
One of the best compliments to be paid a movie based on fiction is that it compels you to read other things by the author. Love Comes Lately is likely to elicit such a response.
A film that might be called stubbornly magical.
Fear of intimacy trumps fear of death in Love Comes Lately, filmmaker Jan Schütte's plaintively effective merging of three Isaac Bashevis Singer short stories.
The idea's not terrible, and no filmmaker has bothered with Singer for years, but this movie chooses to reduce the author's soulfulness to mirrored tales of lonely, randy seniors, all of whom Tausig plays. In one sense, it's a disservice.
Love Comes Lately, a new English-language film from the German director Jan Schutte, has the good sense to begin with three very good short stories by the modern master Isaac Bashevis Singer.
The plight of the aged is worthy of consideration, but a series of AARP fantasies do not a story make.
A poignant valentine to the creativity of I.B. Singer's later years, with the pungent dialogue of the lively women coming directly from Singer's magic realism stories.
A unique, weird and mostly wonderful film.
Schuttes combining of three separate stories serves only to spread Singer's thematic concerns too thin, thereby failing to achieve the richness of the original written material.
Eighty is the new Forty!
Swinging from solemn drama to farcical humor at a moment's notice, the proceedings rarely feel surefooted.
A never less than astonishing procession of real and make-believe oddball characters joining one another for food or sex. A wildly buoyant tale of a geriatric imagination fired up on mental viagra.
While I found the blurring of reality and imagination thought provoking, and while I admire some of the more mundane humor, I simply could not get behind Max - a charactor who glides through the film as things happen all around him; more of a force that moves the plot along than an actual engaged charactor (fictional or otherwise).
The women who drift in and out of Max's vision all do a very nice job supporting the film, especially Barbara Hershey, although I found Pena's performance just too polarized and predictable (hampered by the script, no doubt).
What this film tells about ageing is poignant and at the crux, but there's just too much sleight of hand to really make you feel for Max.
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