Strangers becoming lovers, lovers becoming estranged: the paradox of oh-so-modern coupling keeps the home fires burning in Patrick Marber's astringent Closer.
Closer (2004)
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Reviews Counted:197
Fresh:136
Rotten:61
Average Rating:6.6/10
Rated: 15 [See Full Rating] for sequences of graphic sexual dialogue, nudity/sexuality and language
Runtime: 1 hr 44 mins
Genre: Dramas
Theatrical Release:14-01-2005
Synopsis: Are humans meant to mate for life? What drives someone in a perfectly good relationship to cheat and risk losing the one that they love and that loves them? Is it possible to love more than one... Are humans meant to mate for life? What drives someone in a perfectly good relationship to cheat and risk losing the one that they love and that loves them? Is it possible to love more than one person at the same time? How well does anyone really know the one that they love? Directed by Mike Nichols (THE GRADUATE, BIRDCAGE, WORKING GIRL), CLOSER questions the nature of relationships and fidelity as it follows the tangled web created by Dan (Jude Law), Alice (Natalie Portman), Anna (Julia Roberts), and Larry (Clive Owen). Dan, a British writer of obituaries, and Alice, a young American stripper, meet in the film's opening scene when a London cab runs her down. Cut to a year later: Dan and Alice are now a couple, but he is suddenly smitten with Anna, a beautiful American photographer. In an ironic twist of fate, Anna meets Larry, a British doctor, and they are soon a couple, despite Dan's continuing obsession. But the entanglements don't end there, and ultimately, someone is sure to get hurt. The four players do justice to a script that is humorous, raw and disarmingly honest about adult relationships. [More]
Starring: Julia Roberts, Natalie Portman, Jude Law, Clive Owen
Starring: Julia Roberts, Natalie Portman, Jude Law, Clive Owen
Director: Mike Nichols
Director: Mike Nichols
Screenwriter: Patrick Marber
Producer: John Calley, Cary Brokaw
Studio: Sony Pictures Entertainment
Reviews for Closer
Sure, there's a rubber-necky attraction to watching these good-looking, half-baked creations living anguished, photogenic lifestyles. But it's unclear if we're supposed to feel engaged.
Everything about Closer -- from its four wonderful performances to Nichols' stunning work -- looks and feels perfect.
Next to Closer, most on-screen relationships seem too neat and polite, with tears shed only for effect, and feelings bruised but never really damaged.
A formerly startling string of episodes has become a prurient, static exercise in monochromatic tongue-lashing.
With crackling dialogue, Closer reaches out and grabs all but the most reluctant viewer. Some spectators will be bored, but more will be shaken and stirred.
In spite of the teasing promise of its title, Mike Nichols's deft drama does everything it can to push you away.
While the technique significantly streamlines things, it also strips away whatever makes us sympathize with or better understand the characters, leaving love and sex as unintelligible as ever.
It's a movie that demands more than one viewing to absorb all its ideas and feelings.
Portman, well, she shines. It's a performance that really does mark her entrance into movie adulthood.
Closer gets about as close as it gets to showing how love sometimes makes people do awful things to each other.
It's a pleasure to see material this intelligent, a cast this inspired -- and Nichols in his Carnal Knowledge prime, operating with cold, silky expertise.
[The characters'] allegiances shift so relentlessly and drastically that we are unable to tune into who they are.
The kind of drama that some will find provocative and groundbreaking; I just find it mean spirited.
Closer, way too stagy to be a movie, makes minutes feel like hours -- think Who's Afraid of Virginia Woolf on Valium.
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January 11, 2006:
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May 11, 2005:
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