Enough Said Screen 15 articles

Enough Said


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  • Sitcom scenario, meet sitcom aesthetics: Enough Said, which is set in a Los Angeles so blandly lit that it barely seems to be playing itself, is a movie that seems made to be watched on On Demand (or on an airplane). Taken on those terms, it’s a perfectly enjoyable piece of work, perhaps a notch or two below Nicole Holofcener’s previous Please Give, which foregrounded class and money where this follow-up lets those issues simply fade into the haze.

  • ...Thanks largely to Gandolfini, these barbed emotional defenses start to give way to a near-majestic vulnerability, one that serves as a lynchpin for nearly every character that wanders through Enough Said. Of course, it wouldn't be a Holofcener film if the script's conceit didn't also allow for a few banal stretches of awkward interactions and verbal lash-outs.

  • Whenever focused solely on Eva and Albert together, Enough Said maintains that muted, naturalistic focus, gradually fleshing out their romance as both come clean about their anxieties and settle into the other’s rhythms that both soothe and grate them... The film falters when it either splits off from the couple to be alone with someone, or the two must mingle with friends.

  • The core of the film is very real and immediately felt: the way in which a relationship can be wrecked by doubt and a hasty focus on the other individual’s personal flaws. Nicole Holofcener’s script is not her strongest, too reliant upon a plot contrivance (reminiscent of that in her previous film, 2010’s Please Give)... Yet the story contains grains of truth—and Gandolfini’s shining eyes throughout.

  • What matters is Gandolfini, whose languid, burry diction and Buddha-like poise set the simplest lines and deeds spinning with life-worn worlds of feeling. His warmth, vitality, and humor dominate the film and are its raison d’être. Nothing else illuminates the cozy, ordinary situations, no inner echoes inform the characters; still, in one deft turn, decades of disappointment and regret surge forth in the glance of a well-timed closeup.

  • Louis-Dreyfus seems too antic at times for Holofcener’s laid-back world—Jennifer Aniston at least had camouflage as part of Friends with Money’s ensemble—but Gandolfini’s bearish charm and lumbering sadness are irresistible. While most film romances feel like a fait accompli, Enough Said’s tentative fumblings toward bliss require, and merit, fighting for; its wanderings are never less than pleasant and its final moments pack surprising emotional power.

  • ...Nicole Holofcener’s strongest movie since “Lovely & Amazing”... “Enough Said” is cute but restrained, despite the plethora of age jokes. The twist, embodied in the person of Holofcener’s axiom Catherine Keener (less a character than a textual effect), is not exactly Shakespearean but it does give the movie its most uneasy humor as well as some unexpected depth.

  • It's a small blessing that in Nicole Holofcener's grown-up romance Enough Said, one of the last films Gandolfini made before he died, his character is sexy just because. Gandolfini's charisma isn't something turned on at will, but a radio vibe that radiates from deep within: It's in the timbre of his voice, in his rolling carriage, the way he's always just one flirtatious millisecond behind the beat.

  • Gandolfini fits surprisingly well into the universe of Holofcener, a bracingly intelligent and exacting writer-director who’s made just five features in her 17-year career, all of them searching for a sweet spot partway between Hollywood female-centric comedy and audience-repelling art-house eccentricity. She’s a little bit Eric Rohmer, a little bit Woody Allen (OK, a lot of Woody Allen) and a little bit of second-wave feminist autobiography with an overlay of self-lacerating wit.

  • The movie's audience-friendliness is likely to make it her biggest hit. The plot is like a couple of episodes of decent boutique television — and none from the series Holofcener herself has directed (Six Feet Under, Sex and the City, Enlightened, Parks and Recreation). The movie is breezy and uncharacteristically smooth. The cringe-worthy racial and class encounters of her previous movies are dulled this time (her L.A. films aren't as pungent as the ones set in New York).

  • If this blatant contrivance is more frustrating than usual, it’s because everything surrounding it works so beautifully. Enough Said nails the awkwardness of middle-aged relationships and their accumulated decades of baggage, as well as the ways in which our perception of people can be altered (or “poisoned,” as Albert accurately puts it) by others.

  • Holofcener elicits relaxed and relatable work from the entire cast—which also includes Toni Collette and local blogger Tavi Gevinson—and she displays a strong ear for the patter of upper-middle-class passive-aggression. On a visual level, though, this is indistinguishable from most TV sitcoms, the bland presentation resulting in a suffocating air of complacency.

  • Writer and director Nicole Holofcener (Please Give) has placed Eva and, in fact, all of her characters in a natural environment, free of melodrama or menace. Their appreciation for the fruits of a lucky life is refreshing. Food and eating is a leit motif, as are the massages Eva dishes out.

  • A poignant character study nearly tanked by a premise so idiotic it wouldn't pass muster on "Three's Company," Enough Said proves once again that Holofcener is an incredibly talented auteur who somehow cannot get out of her own way.

  • Too much knowledge is a dangerous thing here, likely to shade into contempt... and the temptation to judge is irresistible... but Holofcener says we should be tolerant, and nice to each other... if only because we're all getting older; bodies are conspicuously embarrassing here - hands are like paddles, feet are gross, a penis makes an unwanted appearance - and we all know they'll let us down eventually. Despite its flaws (or because of them?), a beautiful movie.

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