Norton's first film is crisp, confident, and considerably more entertaining than it has any right to be.
Keeping the Faith (2000)
Tomatometer
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Reviews Counted:113
Fresh:77
Rotten:36
Average Rating:6.2/10
Consensus: Norton's steady hand delivers a comedy filled with clever humor and enlightened performances.
Runtime: 2 hrs 9 mins
Genre: Comedies
Synopsis: In actor Edward Norton's directorial debut, Brian (Norton), a priest, and his best friend, Jake (Ben Stiller), a rabbi, both fall in love with their long-lost childhood friend, Anna (Jenna Elfman),... In actor Edward Norton's directorial debut, Brian (Norton), a priest, and his best friend, Jake (Ben Stiller), a rabbi, both fall in love with their long-lost childhood friend, Anna (Jenna Elfman), who has returned to Manhattan to pursue her hectic business career. However, Brian has taken a vow of celibacy, and Jake is constantly being set up by Jewish mothers in his temple. The workaholic Anna isn't Jewish, but this doesn't stop her from returning Jake's affection and beginning a relationship that they hide from Brian. As their relationship progresses, complications arise, leading Jake, Brian, and Anna to deal with questions of both religious and romantic faith. As Rabbi Jake, Stiller once again displays his excellent comic timing, and his scenes with Elfman, Norton, and Anne Bancroft (as Jake's traditional Jewish mother) carry KEEPING THE FAITH. Set in lushly filmed New York City, Norton's film exhudes an innocent charm that's sure to please audiences of all denominations. [More]
Starring: Ben Stiller, Jenna Elfman, Edward Norton, Anne Bancroft
Starring: Ben Stiller, Jenna Elfman, Edward Norton, Anne Bancroft, Milos Forman, Eli Wallach, Ron Rifkin, Rena Sofer, Holland Taylor, Ken Leung, Kryss Anderson
Director: Edward Norton
Director: Edward Norton
Screenwriter: Stuart Blumberg
Producer: Edward Norton, Howard W. "Hawk" Koch, Stuart Blumberg
Composer: Elmer Bernstein
Reviews for Keeping the Faith
Keeping the Faith commits sins of romantic comedy as well as sins of spiritual tragedy.
A self-assured romantic puffball that neither grates nor lingers too long in the memory.
This is a film that beats a lot of odds to be an intelligent romantic comedy that is constantly entertaining.
The problems with Norton’s rookie filmmaking are visible and not insignificant. But in contrast to the affable energy of Stiller, Norton, and Elfman, the problems are easily forgotten.
It loses energy and becomes repetitious and unnecessarily cumbersome.
The film fleshes out the jokey premise with rather elaborate character development.
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