Greenes Please don't spend money on this.

Tedfoldol everything you have heard about this movie is true.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Freeman This film is so real. It treats its characters with so much care and sensitivity.

CinefanR It's not the age difference that's the issue here; this is a movie about the arbitrariness of attraction. The two protagonists seem to have nothing in common, except a deep sense of personal loss. They are worlds apart. Men and women often fall in love without a reason, or at least a reason that others can understand. It may be inexplicable, ridiculous, unbelievable, outrageous- whatever. It happens! The only flaws of this virtually unknown film are the awful music/sound design and the terribly clichéd ending. Sarandon is at her best, while James Spader is unforgettable as always. All in all, a very underrated movie, with fine acting as its main strength.

Howlin Wolf I liked James Spader's performance; demonstrating as it does a vulnerable quality I didn't know he had. All those wistful looks off into the distance, and the general aura of a man beaten down by life make for something that – I have to say - is pretty touching! This softer element he brings to the part was a nice change from seeing him do the sleazeball routine for the umpteenth time... The movie itself is reminiscent of Pretty Woman in spots, and is a pleasant surprise. An offbeat sleeper on Sarandon's resume.It's got that whole 'you can't rationalise who you love' motif, which I'm all too aware of, in my everyday living... (of course)The whole 'keeping things around for show as an empty token of status' philosophy of some of the protagonists pals is a nice comment on the world of yuppie superficiality that James Spader's characters themselves have often been found immersed in. The movie could easily have been just another bland melodrama, but these themes provide a refreshing and unexpected counterpoint.

fedor8 Spader is quite solid and Sarandon terrific in a reversal of what most French movies are about: a young man goes out with an older woman (the difference being that in French movies the older man is five-to-ten times older than his Lolita-like object of desire, whereas Sarandon is not much older, by comparison, than Spader). This is a romantic drama, and considering this the film is pretty solid; certainly not dull, but predictable in spots. Plus, we have Brennan's annoying clairvoyance - she turns out not to be a fraud! But, I guess they had to throw in a bit of that psychic nonsense to please the middle-aged female viewers. (In fact, there are plenty of movies catering to male fantasies, so here's a middle-aged-women fantasy movie.) A very silly scene was the last one in which Spader smothers Sarandon the waitress in a crowded restaurant, followed by cheers and applause by the guests. Sarandon, once again, shows her breasts, which is always a nice thing. I have to add, though, that she isn't intelligent enough to play even a MacDonalds worker, so this movie falls under "fantasy" as well.If you're interested in reading my biographies of Susan Sarandon and other Hollywood intellectuals, contact me by e-mail.

Scarecrow-88 While I don't believe the end result for a second, this film will do whatever it takes to make us believe the relationship between 44 year old Nora Baker and 27 year old Max Baron can work. The age-gap isn't as difficult to accept as their ethnic and financial differences. Baron is a wealthy, successful Jewish business exec and Nora is a waitress at a hamburger joint. The film, though, with all it's might, tries to make us believe that, yes, they can still maintain a loving relationship despite all the certain trials that lie ahead. Both have had loss in their life, both find each other attractive, and when they are together the chemistry and passion is simply magnetic. It's the idea of who and what they are outside the personal relationship.Susan Sarandon's performance as the waitress is a winner because she shows her as fearless, dynamic, and flawed..but she doesn't ask for pity and accepts that life doesn't always deal everyone a great hand. She goes after the younger man, loves him, she is thankful he continues coming by her house to stay. That aggressiveness to go after what she wants without worrying about what others might say(..though, she is very vulnerable and doesn't have faith in the strength of the relationship lasting). Spader finally has a chance to portray a likable character who just wants to feel something again. With Nora, he has that joy and the stars are aligned.I will say that this film has lots of things going for it. The dialogue does allow Sarandon to expand her character beyond a cliché. You like her despite whatever faults you might see glaringly. Spader is able to expand into uncharted territory as a person we can care about instead of loathe. There's also a marvelous supporting cast which fill the film with color. But, startlingly, this film is also sexually passionate and pulls no punches showing the animal attraction these two have for each other.