A Late Quartet (2012)

Although it has its amusing moments, in eneral the plot does not convince.

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

This is a must-see and one of the best documentaries - and films - of this year.

While it doesn't offer any answers, it both thrills and makes you think.

Christopher Walken, Phillip Seymour Hoffman, Catherine Keener, Mark Ivanir, and Imogen Poots experience "A Late Quartet" and its ramifications in this 2012 film.Walken plays Peter Mitchell, a musician involved in an ensemble called the Fugue Quartet. The quartet has played together for 25 years and consists of Robert & Juliette Gelbart (Hoffman and Keener), and Daniel Lerner (Ivanir). Imogen Poots plays Alexandra Gelbart, Robert and Juliette's daughter.Mitchell is diagnosed with Parkinson's disease and, realizing he won't be able to play much longer, informs the group and seeks out a replacement.The news causes all kinds of disruption. Robert, the second violinist, decides that he no longer wants to play second violin; he wants to move up to first chair. When Catherine tells him that she's discussed this with Daniel, and he is better as second violinist, he feels betrayed and acts out.Robert confronts Daniel and criticizes his work, telling him that he has no passion. Daniel then acts out in a way that has an effect on the Gelbarts.Nothing much happens in this movie, but I was crying at the end.Frankly there wasn't enough plot to keep this thing going for 105 minutes -- 45 would have been fine. It would have been a nice short film.That being said, there were some very powerful scenes. One of the best was the confrontation between Catherine and Alexandra, who vilifies her mother for having her and then traveling eight months of the year. A bad mother-daughter fight that will resonate with a lot of people.The scene at Peter's house during rehearsal, when Daniel is confronted by Robert and Juliette. The final scene was very touching.Christopher Walken gives a beautiful performance of a man who has to face the hardest thing a professional can face -- the loss of ability. There comes a time when an athlete, a dancer, a singer says, my time is up. And it's sad because a musician should be able to keep playing! I thought Walken captured his character beautifully.Hoffman's role was not as good, but he was excellent as usual. What a crying shame that he is gone.Catherine Keener and Imogen Poots were both solid -- again, for me, these were not great roles. Both were honest and real in their emotions in what they had to do.Mark Ivanir gave a more subtle performance -- his character is cerebral, uptight, and not exceptionally verbal. He's perfect.If you're a musician, you possibly will get more out of this than others -- hard to say. I think there are some universal emotions expressed in this film. It's just not electrifying. Not everything needs to be.

It was the cast list that attracted me to this film and really I knew little else about it than this and the title. The plot sees a string quartet struggling with the news that one of them must draw his career to an end as he faces a fight with Parkinson's; this leads to changes, confrontations and challenges within the tight-knit group, their families and acquaintances.If my very basic plot summary sounds a bit soapy then that is almost certainly because the film has the air about it – it is very much a NYC melodrama featuring the interconnecting relationships of a small group of Manhattan artists. There is illness and questions of mortality, there is a marriage in trouble due to many things which manifest themselves in temptation to affairs, and there are other sexual and professional tensions which bubble over with the slightest bit of help. It is a narrative that really doesn't do much that you don't expect and it is one that plays it out reasonably by the numbers; the classical number throughout gives it an air and edge that perhaps the actual content doesn't deserve but still, it is a decent film that is worth a look.The reason for that is the same which brought me to the film in the first place – the cast. We have famous names and faces here, but they are famous by virtue of being good – none of the main cast members are celebrities first and actors second. The most pleasingly surprising of them is Walken; I love the guy but he is a walking caricature of himself now, so it is good to not only see him doing a normal role, but to do it so well. He is not really the lead in the film as the lion's share is done by Hoffman and Keener, along with Ivanir making up the foursome. All are strong and it is necessary because their performances and the music is what saves the film from being a much lesser melodrama.In lesser hands this is what it could have been and, to be honest, even in this film it is a fine line at times. Mostly it works though – not ending up a brilliant film or even close, but a solid and balanced one thanks to the tone and the strong performances by a very able cast.

What a pleasure to know that the film industry is still capable of putting forth rich, intensely layered, insightful character-driven movies like this one. Speaking as a musician I have to say that this is the most accurately insightful portrayal of how actual musicians work together that I have seen on film. And what a wonderful cast!! Christopher Walken and the sadly departed Phillip Seymour Hoffman live up to their usual high standards here. I had not been familiar with the work of Catherine Keener and Mark Ivanir but they acquit themselves well. Plaudits to all of them for working so hard to master the ability to look like string players. The richness of the story - the multiple personal conflicts among the players - analogized to an actual piece of music, the Beethoven op. 131, is a brilliant concept, beautifully executed. This is a totally involving and - in the end - moving story. You don't have to be a musician to be drawn into it, but it helps. It's a crime this flick never made it to the Oscars.

This is easily the most pretentious movie of the year. Not one character is believable.How can anyone relate to this artsy fartsy pablum? Most people in the real world deal with these problems on a daily basis but don't have their stories dramatized.But since it's an elitist type deal, the hoity toity crowd, it gets high ratings on IMDb.Only dooches relate to this film, most likely the worst of the decade, due to how awfully snobby it is.If I had my way, I'd send 'The Sons of Anarchy' in to break this pupu up.Now that would be a great film. These snooty tooty people getting their behinds kicked by a biker gang.You add Jason Statham to the mix and you've gotta a good film...as long as he's drinking a Schlitz tall boy at the beginning of every scene.