The ties that bind this drama's often-smug and off-putting characters are contrived, and the plotting rarely goes deeper than soap opera surface. And that's a shame, considering the caliber of its cast.
Heights (2005)
Tomatometer
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Reviews Counted:99
Fresh:64
Rotten:35
Average Rating:6.3/10
Consensus: Yet another movie about relationships in the Big Apple, Heights is never dull thanks to a competent cast.
Runtime: 1 hr 38 mins
Genre: Dramas
Synopsis: New York native Chris Terrio's debut feature film, HEIGHTS, is a whirlwind of outstanding acting, excellent locations, and a unique plot filled with twists and turns. Based on Amy Fox's play, the... New York native Chris Terrio's debut feature film, HEIGHTS, is a whirlwind of outstanding acting, excellent locations, and a unique plot filled with twists and turns. Based on Amy Fox's play, the film is set in the theater community of New York City, as diva Diana Lee (Glenn Close) prepares to portray Lady Macbeth on Broadway. She wants to cast Alec (Jesse Bradford) in a play she's directing, but a secret is preventing him from jumping at the chance to graduate from off-off-Broadway fringe roles. Meanwhile, Lee's daughter, Isabel (Elizabeth Banks), is getting ready to marry Jonathan (James Marsden), a young executive with a secret of his own. And Lee is unhappy that her husband (Phil Tabor) has chosen her understudy (Susan Malick) for his latest dalliance. All comes to a head as Peter (John Light), who has been hired by Vanity Fair to look into a famous photographer's sexual past, uncovers some surprising revelations. This gem of a film, taking place over just one day, features fine support by an eclectic group of stars, including Denis O'Hare, George Segal, Eric Bogosian, Isabella Rossellini, Rufus Wainwright, and Michael Murphy. But it is the radiant Close and the mesmerizing Banks who are the heart of Terrio's poignant, powerful drama. [More]
Starring: Glenn Close, Elizabeth Banks, James Marsden, Jesse Bradford
Starring: Glenn Close, Elizabeth Banks, James Marsden, Jesse Bradford, Thomas Lennon, Matt Davis, Isabella Rossellini, Susan Malick, Denis O'Hare, Rufus Wainwright, Eric Bogosian, George Segal, Michael Murphy, Andrew Howard
Director: Chris Terrio
Director: Chris Terrio
Screenwriter: Amy Fox, Chris Terrio
Producer: Richard Hawley, Ismail Merchant
Composer: Ben Butler, Martin Erskine
Studio: Sony Pictures Classics
Reviews for Heights
The dance these filmmakers have created is the sort that makes viewing a joy.
Amy Fox's play, with New York clichés for characters, was never going to hit, ahem, the movie heights. But cut loose in the middle of a comic-book summer, Heights is just different enough, just adult enough, to warrant a climb and a look.
Feels like a stage work - a self-important and self-consciously lofty one at that - and first-time director Chris Terrio does little to make it come alive.
The material isn't strong enough and the first-time director isn't experienced enough to make it work.
The story defies the convention of its genre by actually going somewhere.
They work like little jigsaw puzzles, seducing us into the lives of characters via little slivers, then keeping us guessing about how they will collide and change one another.
[B]ottled-up angst somehow isn’t as attractive when it’s not pining away by the canals of Venice in the 19th century but rather over the... skyline of 21st-century New York...
Terrio’s technically proficient film is mature, modern, and minus the all-important passion and risk.
Unlike such popular Merchant Ivory productions as 'A Room with a View,' this is contemporary to the point of cliche...
Jim Denault shoots New York as lovingly as Gordon Willis did in Woody Allen's Manhattan, and the rest of the movie follows in derivative, but impeccable, fashion.
It's the kind of sumptuous, yet modest movie that serves as a cinematic curiosity that's perhaps too overly genteel and shallow.
Renowned actress Diana Lee (the frankly wondrous Glenn Close), is currently rehearsing for Macbeth (or, as she calls it, "the Scottish play").
None of it rings true, nor do precious affectations such as having one couple communicate with each other via walkie-talkies.
Terrio may use such accelerating devices as a handheld camera and split-screen editing, but his movie still feels as inert as the piano chords in Martin Erskine and Ben Butler's score.
A hopeful undertaking, but you have to get through plenty of dark stuff before that becomes obvious.
Sufficiently enjoyable and intelligent to erase unpleasant memories of Merchant-Ivory's last foray into Manhattan ... it lacks the energy and vibrancy of the best films to come out of the city in the past few years.
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