Alec Baldwin, a great actor in his younger days, plays the role of a famous editor with a proclivity for drinking and bedding younger women. Sarah Michelle Gellar plays the role of an assistant editor, both brilliant literarily, and immature in every other way (her trademark in films). Together they offer a sort of chemistry that works and is convincing, but is also quite unwelcome.
Baldwin’s portrayal of an alcoholic makes sense. His character goes through the motions of lechery, anger, erratic behavior, and denial. Meanwhile, after dumping a younger but completely inadequate boyfriend, Gellar must decide between her father’s deteriorating health and her boyfriend’s various needs (company, sex, companionship and reassurance).
The best part of the film is the assortment of clever literary references made by each of the protagonists. The script is clever, but the production is poor. The scenes are in some cases too short and the actions of the actors are without rhyme or reason. Other times, the scenes are far too long and make the viewer wish for a better director at the helm. Overall, this is a slightly romantic movie with a touch of nostalgia, a hint of reality, but the basic premise is nearly improbable anywhere. The terrible production value does not compel us to suspend our disbelief. Here is a message to the two actors: Grow up Gellar and take on a serious role sometime in the next 20 years! Baldwin, you are still talented but might want to choose a movie that people will watch and possibly actually care about. A valiant effort by both, but this movie falls far short of watchability. Next.
