User Reviews

I'm no movie critic or film analyst but i do believe Jason Bateman is one of the best actors going around today. His ability to balance the serious and the comedic is genius level. The movie itself was good. I don't normally watch these types of movies but with COVID i think I've watched ever bloody movie ever made and this one was next cab off the rank. I'm glad i watched it.

I'm at #27 on a 30 movies in 30 nights quest, mostly taking "advice" from film critic's ratings. So, why did I enjoy this silly little "family conflict" film more than most of the 2022 Oscar nominated ones I have watched? Maybe because it's more real, strikes the right notes, doesn't try to be too artistic (while being vague), and shows us a world that we can all relate to in a fun and lovable way. This story is full of messy family drama, handled with grace and humor, and the main characters are so full of genuine humanity that it's hard not to get sucked in.

The great cast was the reason I chose it, but the sweet themes of family and love and bonds and hopefulness... is the reason I enjoyed it. Seriously, maybe it's time to stop listening to film critics and just try something that's real and relatable. I'm glad I did. A solid 8 from me... and a very welcome diversion.

Looking at the starry cast of This Is Where I Leave You, it's easy to get excited about the film. But that excitement might easily fade away when you realise that the director at the helm of this family dramedy is Shawn Levy, best-known for resolutely mediocre films like Night At The Museum and The Internship. Surprisingly, however, Levy has crafted something witty, wise and quite wonderful from Jonathan Tropper's screenplay (adapted from the latter's own best-selling novel). Its narrative might struggle a little at points, and some characters fail to really leap off the screen the way they're clearly meant to. But This Is Where I Leave You is without a doubt Levy's most engaging, full-bodied effort yet: a rich, bitter, quirky film about love and family that teeters along the thin, broken lines dividing life and death, and comedy and tragedy.

Judd Altman (Bateman) is having the worst year of his life. He's just discovered that his wife Quinn (Spencer) is having an affair with his scumbag radio-host boss (Shepard). The last thing he can handle is the death of a family member. But home he must go in the wake of his father's demise. Once there, Judd and his siblings - driven Wendy (Fey), stern Paul (Stoll), and quirky Phillip (Driver) - must abide by their father's dying wishes, as relayed by their mom Hilary (Fonda): they are to sit shiva for seven days, a week in which secrets are revealed, tensions run high, and love sneaks through amidst all the lies and loss.

It's a situation rich with potential, one that could easily have taken the path of high melodrama or descended into outright buffoonery. Levy and Tropper go for something in-between. And so, in a film in which Judd struggles desperately to mourn his father after the implosion of his marriage, the sexual escapades of Paul and his baby-hungry wife Annie (Hahn) are telecast to the entire house via a baby monitor. Wendy re-connects with Horry (Olyphant), the brain-damaged childhood sweetheart she left behind for a loveless marriage to Barry (Lazar). Her brothers sneak off and get high during a service at the synagogue. The final result is a tangle of black humour and bittersweet tragedy, woven into a tapestry of joy and misery that's remarkably close to life itself.

What keeps the film's servings of tragedy and comedy from tipping into farce are its endearingly real characters. It's easy to see the wealth of love and resentment that binds the Altman family together. The siblings argue to the point of bloodshed over who will take over their dad's sporting goods shop, and they tease one another with the poker-sharp memories of years of enforced familiarity. But they also let their guards down around one another: Judd chats out his troubles with his sister Wendy, perched atop a roof; the siblings complain about the loss of privacy stemming from their mom's best-selling book about their childhoods, but still find themselves turning to her in moments of deepest grief. "You're idiots," Wendy declares at one point to her brothers, "But you're my idiots" - a sentiment that most would agree applies particularly well to one's siblings.

Even the supporting characters are mostly well-served by the script, whether it's widowed next-door neighbour Linda (Monk), mother of Horry and keeper of a secret that will shock the Altman children when it's revealed; or Phillip's new fiancée Tracy (Britton), a sexy, intelligent therapist who knows just what a big mistake she's made in falling for the Altman family screw-up. It's particularly intriguing that Quinn isn't written off simply as a degenerate whore, but someone whose mistakes - though inexcusable - are rooted in as much heartbreak and sadness as she's causing Judd with her infidelity.

Unfortunately, not every character in This Is Where I Leave You rings quite so truly. While Judd freaks out about Quinn, especially when she flings a bombshell at him when she turns up at the Altman home, he also draws closer to Penny (Byrne) - the sweet, kooky girl who's held a torch for him since high school. In a film filled with so many quirky-but-realistic characters, each of whom could easily have taken the lead, Penny is an odd cardboard cutout of a dream girl. In effect, she bounces around and chirps supposedly insightful but painfully awkward things like, "I've always seen you, Judd Altman". Poor Byrne tries her best, and has a sweet chemistry with Bateman, but her character feels less like a genuine romantic option than the wishful thinking of a writer who's spent considerably more time fleshing out his other characters.

In news surprising to no one, Levy's ensemble cast is an absolute joy to watch in action. Bateman anchors the entire film with one of his most sensitive performances yet, but everyone around him gets a chance to shine. Fey, better known as a comedian, mines Wendy's troubled relationship with Horry for genuine emotional trauma, while Stoll and Driver round out the Altman quartet with steady, appealing turns as the eldest and youngest brothers who just can't get along. Fonda is luminous, carrying off the comedy - and her prosthetic breasts - with remarkable grace, while creating a picture of a tough, sexually progressive woman with plenty of depth and love for her children.

Like the fractured, dysfunctional family at its heart, This Is Where I Leave You isn't perfect. It can be insular at times, and its characters occasionally speak in perfectly tart soundbites that don't quite ring true. But Levy's film is also a tender, silly, deep, smart and ridiculous look at a family in mourning. It finds the hidden joys and awkward sadnesses in a group of people who sometimes love more than they like one another. And it serves as a potent reminder that life - happiness, tragedy, and everything in between - keeps happening, often when we least want it to.

Not much to tell about this movie. Really.

The premise, you've seen it a million times. The members of a family (I let you to judge if it is unconventional or not) are get together in their hometown because of a funeral.

Movies like this could be comedies, dramas, even thrillers. Most of the times though, is about reconciliation between the members of the family, and re-ignition of old flames from their childhood.

This is most definitely a comedy. There are some dilemmas to deal with, and a few emotional surprises but, although strong, are presented in a fun way.

And there is a lot of fun in this movies, mainly because of the chemistry of some experienced TV actors who can play roles like these in their sleep. Despite some forced clichés the movie is easy to watch. Not boring at all.

Jane Fonda looks surprisingly good for her 77 years (she was also in The Newsroom recently). Maybe there is message there for a healthy way of living for the rest of us! Overall: Not Boring. Starts well and continues like that until the very end. Check it out.

It took me ages to watch this. Having seen 'August: Osage County' fairly recently, I can confirm that 'This is Where I Leave You' is what that one was trying to do.

I would say that this was meant to be a serious drama that didn't take itself too seriously. In that respect, it's probably a good compromise for two people if one wants to watch an Oscar-bait type film and the other hates them with a passion. It's a drama that won't bore you to tears.

Having said that, there are a lot of things wrong with it. For every funny joke, there are some fairly tame or childish ones. As others have pointed out, nothing really gets resolved. One storyline in particular (Tina Fey's) was an utter waste of time. I was expecting certain people to have an affair and certain people to split up and so on and yet nothing! Literally!

I don't particularly like Rose Byrne especially since she seems to have succumbed to anorexia, but I imagine a lot of people would agree that there was zero chemistry between her and Jason Bateman. Not only that but her character had almost no back-story. There was no reason for her and Bateman's character to be attracted to each other and they spent almost no time together so the way things unfolded between them made no sense.

Yet it was entertaining and funny enough for me to keep watching, not feel bored and generally be happy that I'd watched it.

7/10

From the novel by Jonathan Tropper, This is Where I leave You is the story of how a dysfunctional family gets together for a week to conduct the Jewish ritual of sitting Shiva for seven days after the passing of their father, for whom this was his dying wish. Judd, played by Jason Bateman, is fresh off the shocking revelation that his wife has been cheating on him with his boss, while his 3 siblings are wonderful mess of their own problems. The mother, played by Jane Fonda, is an over sharing woman who published a book over 25 years earlier about their childhoods and their family secrets. For her, nothing is secret but for the adult children, the book stands as an obvious lasting scar.

After having read all of Jonathan Tropper's novels, it is hard to avoid the thought that they seem to have been written for the screen. His dialog, his wisdom, his humor and outrageous situations have always seemed destined to be made into films. When I saw that This is Where I Leave You was to become a film, I knew that if nothing else, it would reflect many of the same elements that make his fiction so much fun.

What I guess I didn't count on was the fact that while this is a very solid movie, it still exposes the difficulty of adaptation. Much of the wisdom and humor of the book must be conveyed in a series of one on one conversations between characters, which, after a while start to feel a little exhausting. Tropper, who did the screenplay himself, chose to stay away from doing flashbacks to convey back story, hoping to work the relevant information into the plot. It is not a bad choice, but it does deprive the audience of some of the information that we would like to know: like what exactly happened to neighbor/semi-adopted child Horry that caused him to be brain damaged? It is referenced but never fully explained, which would seem important because of the apparent role the Tina Fey character had in it. I can only think that maybe some bit of dialog somewhere was cut out of the final edit. The bit at the beginning with the birthday cake was underplayed in comparison to what happened in the book—probably not a terrible choice, though I might have enjoyed seeing the whole sequence end with something more explosive.

Still, This Is Where I Leave You had some great moments and the story and performances carried the day. Jason Bateman as Judd is a great everyman; Adam Driver wins an MVP for his role as the goof-up brother, Phillip; Corey Stoll as Paul, the brother who holds down the fort for the others yet has his manhood challenged at every turn; Kathryn Hahn as Judd's Ex and Paul's Current (awkward!) ; Jane Fonda is convincing as the overbearing mother; Tina Fey as the alcoholic sister; Rose Byrne as Judd's hometown love interest, Penny Moore and Connie Britton as the goof-up brother's older woman--all perform the admirable job of making this rather dark comedy enjoyable.

I think this is an enjoyable movie as long as you know what you're getting into. The main actors of Jason Bateman and Tina Fey should tip you off that this won't be troubling the scorecards at the Oscars. Jason Bateman is an enjoyable actor to watch. I concede, he plays the same sort of character each time but he brings a laugh and a smile to my face. The plot line is admittedly fairly paper thin to get all of these characters together, but there's enough laughs and contrived family moments to be a fairly decent bit of nonsense to watch. A couple of good exchanges revolving around Bateman/Fey/Fonda were very funny. All in all, just a fairly decent comedy that I enjoyed for what it was but it won't be sticking with me for years to come.

Great cast. Great story. Terrific movie. You will not regret watching this one. There are some great little twists and turns. Very enjoyable.

While many have claimed this title does not offer much that the others of this particular genre do, I have to disagree. This is a heartwarming story with genuine dialog between characters. Some of these conversations and interactions I have experienced firsthand. The cinematography captures the specific details that both add to the dialog and allow you to pick up more the second time around. The acting is very believable albeit a little over emphasized for comedy at times. The first time I saw this I had wished they rewrote a few of the lines, but after my second watch they seem fitting for the character and what they were going through at the time. I really did not like Phillip, and now I have come to realize he is that juvenile person frequently found in families. I approached this film without any prior knowledge of it and was pleasantly surprised. I concede it was not amazing, and given the cast list may spark high expectations for some, but going into any movie that way will leave you disappointed.

This wasn't a good film but nor was it that bad, just in between. The great cast labours under a wafer thin plot and script, so hats off to their ability to make it watchable. Guaranteed not to change your life. Okay for an in-house date night :-)

I can't actually understand why so many people rate this movie so low. It has everything. Just, everything.

It starts light, introducing the characters, it starts building storyline, gradually the humor and comedy between the characters becomes more and more fluent.

After the build-up and introduction, there is the storyline. And the storyline just unfolds so brilliantly. I love how every character has it's own unique differences, it's like a family not made for each other, but completely lost without each other.

The ending is just undeniably great, it's one of the better movies I have seen in a long time. Jason Bateman by the way, was born for this role. The movie would have been one big flop if that man wasn't in it. Jason Bateman just makes everything seem a little better.

This is a well made movie. Very good acting & direction, but for older movie viewers who have seen movies very much like this before it is just a nice one time watch. It has a good storyline & for a younger audience who have not had the opportunity to see a good movie about a family dealing with loss, love & being grateful for what you do already have in life, then this is a good moving to watch & be inspired by. I've probably seen like 20+ well made movies that cover all these things though so that is why I will give it a good score of 7 out of 10 ( as lack of real originality here ).

This Is Where I Leave You is a film that seems to be very 'busy' all the time but at the same time is also a film that never really goes anywhere and does very little that's actually interesting.

Essentially, we have a bunch of estranged siblings who had little contact with each other prior to their father's death and it is their father's death that brings them together. At the behest of their father the family are forced to spend a week together taking part in a form of Jewish mourning known as Shiva whereby the family are forbidden from leaving the area or taking public transport (amongst other things). This sets out the framework for the film, but that's all it really does - the siblings are at each other's throats at the start and are still the same at the end with very little in the way of reflection or insight offered in between. The characterisations are sketchy and flat here making many of the characters seem more like caricatures rather than human beings.

Another problem here is that very little of what is on offer here feels realistic or believable. The Altman family are dysfunctional, but this concept is taken to a ridiculous extreme here and makes it look as if we're watching some sort of parody of a bad soap opera or a bad sitcom. Even if you're prepared to overlook the over-the-top antics of the Altman family then it's almost impossible to get around how unlikeable and annoying many members of the family are - it's safe to say that they are a hard bunch to tolerate over a 100 minute period.

Other major problems relate to the unfocused nature of the story; it seemed to just keep flitting around all the over the place without really settling on one main story. It never seems to settle into any kind of rhythm and ironically it actually achieves very little by trying to do too much. Screenwriter Jonathan Tropper gives many of the characters nothing interesting to say or do making the film feel both dull and boring. I also felt that too much time was spent on irritating characters and not enough time was spent on more interesting characters (such as Timothy Olyphant's character). Director Shawn Levy shoots the film in the style of a soap opera and gives the film a very tedious episodic feel.

Whilst many of the characters got on my nerves here there were a few exceptions; Jane Fonda was a lot of fun and her dirty talk about their father was both gag-inducing and pretty damn funny. Bateman is the most likable member of the Altman family and probably the most believable (and one of the few characters who didn't annoy me).

Sadly, there are only a couple of moments in this film that are either amusing or tolerable and for the most part this is a loud, irritating, and generally unbearable affair from start to finish.

As published by the Morrisons Cove Herald on October 2, 2014.

BY RYAN C. SHOWERS

"This is Where I Leave You" has enough on its surface to appeal to a wide, generic audience. The impressive collection of talents manufactures a sizable expectation for people familiar with the actor's past successes, and an extremely high expectation is never a good sign. It pretends to carry a comedy-drama equilibrium of the highest quality, but sadly this is where "This Is Where I Leave You" leaves you unsatisfied, mastering neither comedic nor dramatic moments.

Judd Altman (Jason Bateman) has been hit with some emotional setbacks. He comes home to celebrate his wife's birthday to find her sexually engaged with his boss in their bedroom. Subsequently, the wife reveals she's pregnant with Judd's baby. On top of that, he is called to his childhood home to reunite with his family after his father dies. His mother (Jane Fonda) reveals his father's final wish to Judd and his siblings (played by Tina Fey, Adam Driver, and Corey Stoll): to live as a united family under one roof again. For a single week, the drama of each member of the family begins to exacerbate as the adult siblings revisit their childhood.

The premise is one familiar to moviegoers - in fact, maybe too familiar. Instantly the movie was reminiscent of "The Upside of Anger", "The Family Stone", and "Home for the Holidays", but "This is Where I Leave You" does not improve the concepts established in those films, but rather falters in its own attempts to move and entertain its audience.

However, the film is not entirely poor; in fact, it is very watchable. There's an effortless flow to "This is Where I Leave You" that makes adapting to the storyline and characters a very easy task, even though the viewer is aware that the nature of the project is a mediocre representation of what is possible with the talent involved and the storyline at hand.

Comparing "This is Where I Leave You" to a vacuum would not be unfair; it sucks up the casts' indelible flairs and leaves little to boast about in the final product. Jason Bateman's character is put through the wringer, yet the depth Bateman is trying to convey is not fully translated in the viewing of the film. Jane Fonda appears as inherently fabulous, even in her stereotypical character. Though in a much smaller role, Rose Byrne is an awesome addition to the ensemble.

Tina Fey is a comedic genius. The woman has won eight Emmys for her aptitude in comedy, so why she was cast in the most dramatic role in "This Is Where I Leave" remains an enigma. Someone once told me Fey does not contain much range as an actress. That struck me funny because I always thought of her as a comedian, not an "actress". With her work here, she may have tried to expand her horizons, but as a fan of "30 Rock" and her time on "Saturday Night Live", Ms. Fey would be smartest to stick to the material that she can rock.

"This is Where I Leave You" neither succeeds as a comedy nor a drama, and it is trying to be both. The film thinks resorting to poop jokes and outrageous sexual humor about the 76 year- old Jane Fonda is acceptable. The quips barely bite and the pathos does not affect, resulting in a hollow thud of a movie.

* * / * * * *

Call me simple but I found this movie to be a funny and moving story based on a dysfunctional family forced to reconnect when dad dies. Maybe it's a little formulaic but the ride was worth my time.

I like this movie. It's nice. It's like a tea on a a rainy day. This is like a modern version of The Big Chill- typical family issues solved through dilemmas and hugs and jocularity. It's people sitting around and laughing at the craziness of it all.

I've seen it all before but it works. The reason it works is its casting. Actors who are grounded and real and you can feel true empathy from them. Actors who always have emotion or depth no matter what the role.

This isn't going to go deep on a psych level or rip apart what the foundations of marriage might be but it does offer a couple nice lemon twists you don't see coming. Overall its a good watch and feels like an afternoon spent with friends.

The film is good, star-studded, jason bateman is amazing as per usual in doing both drama and dry comedy. Adam driver is so fresh. Janr Fonda is, well Jane Fonda. But Tina Fey is really bad at drama, really bad at crying. She can't cry, she doesn't know how, and she shouldn't even bother.

Jane Fonda's husband has died, and her four children return home for the funeral. The oldest son, Corey Stall, has marital troubles with his wife, Kathryn Hahn, who used to be his younger brother's girlfriend. Jason Bateman, just found out his wife cheated on him, and he seeks to numb his heartache with Rose Byrne, a friend from high school. Tina Fey's husband ignores her and works too much, and she has an emotionally complex history with the neighbor, Timothy Olyphant. And the problemed child, Adam Driver, is involved with an older woman, Connie Britton. With all the children's problems, is there any room for Jane Fonda? Yes, there is. She, just like her children, has problems and secrets that are bound to come out over the weekend.

I'm sure every viewer will take his own opinion of the film, but I was pretty split down the middle. Jason Bateman's storyline takes the lead, and it was my worst part of the film. Rose Byrne was wholly unlikable, and I wished that both she and Jason would have surrendered their screen time to someone else. Adam Driver's part of the plot is much smaller, but it's more interesting. His girlfriend is a therapist, and his character, more than anyone, shows the damage dysfunctional parenting does to children. By far, Tina Fey's segment was my favorite. Yes, she's famous for her comedic talents, but when she tackles a dramatic scene, she's surprisingly talented. The scenes she shares with Timothy Olyphant are very touching.

This Is Where I Leave You is a very typical dysfunctional family film, so if you don't like those types of movies, you're not going to like this one. I watched it because I like Jane Fonda, but it's not a movie I'll probably want to rent again.

Kiddy warning: Obviously, you have control over your own children. However, due to some adult content, I wouldn't let my kids watch this movie.

What a great film.

Ignore previous reviews. How people can ignore the realities of psychotic family behavior is beyond me. This film smartly peels the layers and transparently reveals all about people running astray with their lives and emotions. It captures how families really are or maybe should be. Americans are all too good at bottling and hiding their real feelings and the result is vapid soullessness. Not with this film. It displays like European honesty ensuring every word drips viscerally from their tongues until the effects are felt. So reassuring in a country gone soft and dull. Amazing performances, sharply written and wildly funny, this film will pull tears, smiles and laughs.

Just watched this with my mom on Netflix disc. She wasn't crazy about the dysfunctional aspects of the film plus she thought it was too raunchy. I liked both of those and mostly emphasized with the characters. Tina Fey does a pretty good job with both the drama and comedy as does Jason Bateman, both of whom are usually known for the latter part. Jane Fonda looks and performs as fine as ever in her advanced years as the matriarch who just lets things play out between her now-grown children as they work out their issues in the wake of their father's death. In summary, This Is Where I Leave You was pretty touching and entertaining.

This is Where I Leave You is one of those films that can almost trick you into believing it's a good film because you get so wrapped up in the energy and performances of the actors that you forget that the writing is either trying too hard or simply undercutting the wealth of talent on screen rather than enriching. In this case, This is Where I Leave You does both, not giving its characters enough plausible humanity and, instead, trades pragmatic routes for character-driven scenarios for brazen comedy or overly-sappy drama, making for a film that holds about as much emotional maturity as a satire about the topics of family and grief.

The film centers around the Altman family, who are united following the death of their patriarch, who's dying wish was for the family to sit Shiva, a Jewish tradition meaning that everyone in the family must live under the same roof for the next week, so we are told by Hillary (Jane Fonda), the Altman's mother. The four Altman siblings, who are all emotionally damaged or troubled in some way, find this to be a daunting task for many reasons: Judd (Jason Bateman), for one, has recently witness his wife having sex with his boss, Wendy (Tina Fey) has a marriage that is failing due to her husband's frequent absence, Phillip (Adam Driver) is an immature playboy unwilling to give up his childish ways, and Paul (Corey Stoll), while seeming like the only sibling who has his ducks in order, still finds ways to be too confrontational with his siblings or too hardened in his own way of thinking. Together, this family must tolerate each other for a week to adhere to their dying father's wish, and we must endure one-hundred and forty-three minutes of their comedic and dramatic zaniness.

Instantly, anyone who paid attention to film last year has visions of August: Osage County dancing in their head, a far better and more elaborate drama that won me over because of how invested it was in character relations and dialog. This is Where I Leave You is, on the contrary, invested in sitcom behavior, featuring characters with large and overdrawn personalities and situational humor taking presence over verbal wit or conversational realism. The sole intriguing Altman sibling is Judd, for he has a real problem on his hands, and whenever we get involved in talking about his particular situation is when writer Jonathan Tropper (who also wrote the book of the same name) decided to paint a more honest and emotional picture of these characters. Everything else, given the presence of Adam Driver's obnoxious Phillip character and Jane Fonda's equally obnoxious and annoying Hillary, is rooted in goofy comedy, which goes far beyond my personal threshold for family zaniness.

When the film wants to turn a bit more emotional, Tropper makes it interesting enough, at least giving these characters more to think about and place into perspective. However, the feature out of his control was the film's editing, which is crafted in a way to be emotionally manipulative, cuing the right slow-song to get the emotional rise out of the material. The more we cycle to find the broadly-drawn humor of the story, the strange characters in their own peculiar situations, and the emotional manipulation that could be crafted out of the material, the more we feel like we're watching an extended pilot for a new fall primetime program than a theatrical film.

Again, This is Where I Leave You has the partial-saving grace of multiple talented people working all in one picture, with everyone doing a pretty commendable job, even if their characters are partially annoying. Tina Fey reminds audiences why she's often considered one of the funniest females in comedy today by her one-liners, and Jason Bateman's heartbreak treads the line of potentially being close to home for some. However, take a step back and look at the film that encompasses these fine actors and you'll see one filled with unsubtle emotions and lackluster comedy, making for a painfully uneven ride through what could've been a hearty depictions of the commonalities of family.

Starring: Jason Bateman, Tina Fey, Adam Driver, Corey Stoll, Jane Fonda, Rose Byrne, and Abigail Spencer. Directed by: Shawn Levy.

This film was actually funny, but not in a slap-sticky juvenile way. It was a comedy for grown ups in that it dealt with themes that are applicable to 30 and 40-somethings, such as death of a parent, fertility, running a business, divorce, etc., but it was not a heavy film in that it was not a dark comedy. The father who died as the premise for it was never presented to the audience, which keeps his passing from being a sad event and allows for the levity at his funeral to be appreciated. The film generally seems to focus the most of Bateman's character and his relationships with others, but he carries that role well. In fact, I thought this performance was one of his finest in quite some time. Tina Fey was great in it too. I thought she was just a comedian, but she can act too! (Is there noting she can't do?) Overall, this film is worth seeing and is a powerful yet lighthearted journey in the interplay between siblings and the event that all 30 & 40 somethings will face at some point: the loss of a parent. If this film doesn't get you thinking about your relationship with your family members, then nothing will. Not to worry, the family in this film has enough dysfunction to make you feel better about your own.

This Is Where I Leave You

Both my wife and myself found this to be a surprisingly entertaining production.

And, just in case if you've not yet noticed? Old productions like this that are picked up by Netflix usually jump several hundred rating points.

The opening reminded us of our old, shoddy, New York neighborhood.

We both love Jason Bateman and Connie Britton. Not so much Tina Fey.

And Jane Fonda gets a tit job at 76 years of age? Why? Who would want to hit that?

The man-scaping was in vogue at the time, but now, is, unfortunately, tres passé.

Who in the world can't figure out a fold out bed?