An elegant journey through 50 years of defining moments, Evening weaves a beautiful tapestry of affecting performances and emotional revelations, drawing on the complex relationships between mothers and daughters.
© 2007 MBF Erste Filmproduktionsgesellschaft mbh & Co. KG. All Rights Reserved.
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Strong cast is best part of tragic romantic drama.
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Tomatometer®reviews counted: 27see all Evening reviews
Top Critic Reviews
Fresh: It courts its audience with a warm story about lost loves and paths not chosen, and it boasts an array of strong performances from its top-notch ensemble.
- Adam Graham, Detroit News, Friday, June 29, 2007
Fresh: Everything about Evening seems engineered to liquefy moviegoers, specifically middle-age female moviegoers who miss their mothers. This would include me: I was a sloppy mess by the end.
- Amy Biancolli, Houston Chronicle, Friday, June 29, 2007
Rotten: The film disintegrates into an indulgent succession of intense, fawning exchanges that overwhelm Minot's thin and monotonous tale.
- Amy Simmons, Time Out, Friday, September 21, 2007
Emotionally family drama of a mother who's on her deathbed, finds her mind turning to her youth. This story is full of actresses than actors, Vanessa Redgrave, Toni Collette, Natasha Richardson, Claire Danes, Glenn Close and Meryl Streep do really wonderful performances. I had some tears when I watched older Ann (Redgrave) and Lila (Streep) finally reunited after years later that made me feel happy, that was what I thought of Ann's dying wish.
- deano, Sunday, November 25, 2007
CENTER]img]http://img177.imageshack.us/img177/1803/marla2ik5.jpg/img]/CENTER] COLOR=DarkRed]FONT=Arial]My Kid Could Paint That - Prodigy, fraud, normal preschooler? This incisive and captivating documentary looks at a four-year-old who has made thousands of dollars on her modern art paintings. If she is the real deal, what does that say about modern art when a child can compete with serious artists? This intensely interesting story is given as objective a viewpoint as possible even as the filmmaker is forced into his own movie when the family he's been documenting is looking at his film as a favorable retort to a very critical 60 Minutes segment casting doubt that the paintings are genuine. The filmmaker has his own doubts and explores the nature of journalism and storytelling and objectivity and what is art, and that's when the documentary transcends its story and becomes about much more. I have no doubt that the child is involved in painting (the question registers with how involved her failed artist father is), but the people that are buying her paintings are buying them because they are also purchasing the story. I]My Kid Could Paint That/I], as one interview subject states, is really a story about adults seeking the limelight, because otherwise it would just be a kid having fun painting in the confines of her home. Is she exploited? Is she a genuine talent in a world of paint splashes and squiggly lines? Will she ever just be allowed to be a kid? These are just a few of the tantalizing questions this mature and insightful movie raises. Nate's Grade: B+ The Namesake - Extremely heartfelt, this cross-generational family drama runs aground on some familiar territory but is boasted by strong acting. Whenever the film's focus falls to the arranged married couple settling into a new country and a new relationship, that is when I]The Namesake/I] is the most affecting and interesting. Too much time is spent on Gogol (Kal Penn) as their son who has completely embraced American culture and throws off his Indian roots. Of course he comes around in his opinion but his character never feels fully formed or completely believable, more like a composite of a prodigal son. Director Mira Nair has an obvious personal attachment to this tale of an Indian family trying to make their way in the U.S. of A, and she never misses her mark when dealing with the intensely decent and selfless father and his love for his wife. It's a shame then that the movie shifts too much focus at the halfway point onto Gogol. I]The Namesake/I] is a touching and entertaining that's a cut above thanks to sensitive performances. Nate's Grade: B+ Kickin' It Old Skool - A moderately surprising comedy that's really much more fish-out-of--water than tired I]You Got Served/I] dance parody. Jamie Kennedy busts a move as a kid in a man's body who wakes up after being in a coma for 20 years. There is an overemphasis on recreating the 80s in the early part, with a crushing amount of catch phrases, name drops, and dated toys and fashions. The rest of the film follows the sports formula closely as Kennedy reassembles his aged Funky Fresh Boys to win a dance competition for standard goals like saving his family and winning the girl of his dreams. I]Kickin' It/I] is a simpleton comedy that never aims it sights too high, but every now and then the film connects on a gag or a character that produces some real yuks (my favorite being a homeless man convinced he invented break dancing). Some of the jokes are pretty dusty and the romance is, like most of the conflict, forced and contrived, and yet I cannot hate this movie. I never grew weary watching it even though during the climactic dance-off tournament there is a dearth of even attempted comedy. Nate's Grade: C A Mighty Heart - Good intentions and some proficient camerawork can only go so far to make a film worthwhile. Angelina Jolie gives the best performance of her career as kidnapped Wall Street Journal reporter Daniel Pearl's wife (she's French and Cuban, making for one really tricky accent). I wanted to like this movie more. The subject matter is serious and timely, the filmmaking has a sturdy docu-drama look, and the acting never comes across as phony, but alas, I think I mentally checked out because much of the film is a detective story that I already know the ending to. Daniel Pearl was infamously beheaded, so watching an hour of his wife, friends, and local police scramble to track down key figures, their allegiances and acquaintances, and the whereabouts of Daniels can come across as fruitless and somewhat cruel. This film doesn't have the same cathartic feel that I]United 93/I] had because that moment was universal, and while I can admire the cinematography and superb acting I can't ignore the fact that watching people search and fail gives me little emotional reward as a viewer. Nate's Grade: B Evening - A chick flick crammed with lots of bona fide stars and A-list talent that manages to squander all talent. It slogs on and on, the back and forth nature of the plot does little to keep an audience alert, and the story it tells in the past is so pedestrian, so miniscule, and ultimately so mundane that you can't help but wonder why an old woman on her deathbed would be flashing back and remembering it. This high profile weepy never finds the right tone and often settles for maudlin and predictable plot turns. I]Evening/I] is the kind of movie that kills the chances for a large, female-driven film to get made in Hollywood. Nate's Grade: C-/FONT]/COLOR]
- mrbungle7821, Tuesday, January 15, 2008
this is not a necessarily bad film, but somehow, something was missing - I didn't feel in any way connected to the two daughters (Richardson and Collete), who have "issues" with one another and yet are able to come together when the script calls for it. I found much of the writing to be contrived and certainly not breaking any new ground (except for the concept voiced late in the film by Streep, playing the ageing best friend to the dying Redgrave - who states that are no mistakes in life; and that in the end what will is what will). Many of the emotional moments seemed overwrought - as the scene between daughters where each called out the other's charactor flaws - I just felt it could have been handled much better - the scene seemed like something out of a made for TV movie - all the emotions just so pat - each sister says her piece and then they hug and reconcile - not very realistice. The memory scenes held a bit more sway, but even with them there seemed a certain contrievance that, in spite of some nice dialog, came off flat and in one case in particular (the "next morning" where Glenn Close goes way over the top mourning her son's demise) I was wondering why the scene even existed. The accidental meeting between Harris and the main charactor, even giving credence to creative license (as it was all just a memory anyway), seemed unnecessary and disjointed. Streep, as usual, lit up the screen in what was little more than a cameo role, while Close was totally wasted and the aforementioned scene seemed a vehicle to get her more screen time. Overall, the nice touches (seeing the night nurse in a ball gown) were far outweighed by some overwrought and unnecessary scenes, and an overall sense of falseness - like when the single sister finally announces to her boyfriend that she is pregnant - it should have been cathartic if played well - but it came off as staged and the emotions phony.
- paulsandberg, Tuesday, October 7, 2008