Had originally written a dialogue between Lurhmann and Maguire of the former coaching the latter on how he should deliver the film/book's final line, but then my browser crashed and that'll teach me to compose things in Letterboxd instead of in Word first. The point was that holy crap is that line read in a protracted way, a way you would never read it in were it not the famous last line of a famous novel. (The bigger point I…

Guess I take what seems to be the party line here. Sort of an inverse Funny People: dramatic material really strong, comedic material a bit too slight. It clearly wants a balance between drama and good comedy, and while it works tonally, and is funny, it just doesn't have the belly laughs of Apatow's previous work, and its absence is accidental, or at least misguided. Funny People didn't have many outrageous setpieces, but it was still hilarious. Here something's missing.…

Contains so many wonderful smaller moments - the shot when Mona first sees Tamsin on her horse, the two sitting on a hill and becoming enveloped by flowers as they lean back, their playful sojourn to river - that I wished so badly at first for it to be a silent film, as the dialogue, with a few exceptions (Mona's simulation of having sex with Ricky), nearly sucked the life out of it. And its concessions to drama, like the…