User reviews

"Laurel Canyon" is a story about 'family'. The grown son (Christian Bale) of a record producer (Frances McDormand) ends up bringing his girl friend (Kate Bekinsdale) to California. They expected to stay in his mother's empty home while he worked at a psychiatric hospital and she worked on a thesis. Due to a schedule change, his mother is still in the home when he and his girl friend arrive. It is obvious that there is substantial tension and resentment on the son's side of the relationship. He feels his mother was not a good parent and that she is irresponsible, and she is still living the carefree and wild lifestyle she has always lived. His curious girlfriend is drawn into the lives of his mother and her boyfriend (Allesandro Nivola), with the potential for disastrous results.

Frances McDormand does a fine job as the mother. Christian Bale and Kate Beckinsdale are also good as the young couple. Allesandro Nivola is entertaining as the mother's current lover. This is a nicely done film. However, something seems a bit flat and the story line doesn't pick up as much steam as a good drama should. It tends to have a 'so what' mentality about the immorality taking place, and the result is that the impact of the film is minimalized. Christian Bale and Frances McDormand have a poignant scene at the end of "Laurel Canyon", but again the film strangely mutes the power which the actors imbue their characters with.

I'd rate this film a 70/100. Fans of the actors involved will enjoy seeing their favorites on the screen, but others will most likely be a bit disappointed by this movie.

Lisa Cholodenko might be the new millennium's avant garde/art-house director, having directed "High Art" and now "Laurel Canyon". In the latter, Sam (Christian Bale) and Alex (Kate Beckinsale) have graduated from college and are about to start their new lives. They decide to stop at Alex's mother's house. Alex's mother, record-producer Jane (Frances McDormand) lives an easygoing life of sex and drugs. In the process of staying with her, Sam and Alex just aren't able to distance themselves from Jane's existence.

Granted, with the kind of idiotic movies that Hollywood makes, it's always good to see an indie film like this one. However, this movie didn't totally hold my attention. Okay, so Jane and her drugged-out friends are actually more desirable than other people. But what's the movie really trying to say? Now don't get me wrong. "Laurel Canyon" wasn't a bad movie by any stretch ("bad movie" is the moniker that I apply to movies like "Batman & Robin" and "Armageddon"). It's just that I felt that they could have developed the plot a little further.

If you like being smacked in the face and having characters who behave in emotionally "traceable" ways (i.e., whose motivations are apparent as soon as they act), you won't like this film but what a joy it is to watch a film unfold in layers, slowly, subtly, un-rushed, in a way that most American films don't allow, too much in a rush to get to the next "plot point" and too obsessed with big dramatic turns. Audiences have to be fed such things, constantly, or they'll lose interest, right? Wrong, I hope. And, Laurel Canyon makes the point better than a debate ever will. This is a remarkable piece of tapestry in muted tones and hues, populated by complicated, confused, uncertain, searching people. And, they change. But, they change by degrees, not by full turns of the wheel. Kate Beckinsale should watch this film over and over, and get out of the Spandex and Leather of the comic book films she's been doing. She and Frances McDormand are as real as any two actors you'll ever see on film. There are a couple of possible story "cop outs" in this film, which we won't mention because they'd spoil the story. But, in the end, they might not be cop-outs at all. They might be preferable to answering all the questions and delivering us from the theatre all neatly reconciled and sent off to coffee and desert. Good for you, Lisa Cholodenko. A brave choice and a fine film.

I watched this movie with my mother. Halfway through it she thought Lisa Cholodenko was an Ukranian filmmaker who wanted to make a comedy about Los Angeles. I told her she was wrong and that it was a feminist view of a Los Angeles native on the war of the sexes. She had to agree in the end.

Men who like soft, womanly women had probably better stay away from Laurel Canyon. It serves tough chicken. And men are wimps. What impressed me (and made me show it to my mom) is the amount of contempt the story shows the the son of the main character, the latter being a domineering, successful music producer who changes her lovers regularly. The son is a trained psychiatrist and a gentle and considerate person who likes to live a life one might call conventional. His aim in life seems to be to serve and to be useful, not personal success or even glory, maybe not even satisfaction (the opening sex scene with the girlfriend seems to indicate that). Not surprisingly he blames his mother for the instability he experienced as a child and would like to keep his distance from her. Yet he moves into her house in Laurel Canyon for professional reasons, assuming she would live elsewhere at that time. For some unexpected reason this is not the case. Along with the son comes his equally conventional, career oriented highbrow girlfriend who likes to finish her doctoral thesis. The girlfriend is fascinated by the encounter with the mother and her entourage and „opens up" and blends in. He does not and I felt that it is somehow held against him.

The movie sets out to show that the son hasn't got a chance against his powerhouse mother and that his lifestyle and attitudes are basically wrong and stupid. It does not explain the characters, the girlfriend's transformation for instance is presented with disarming simplicity as a „natural process". Within the social dynamics of the ashram-like household the ideal man is presented: an irresponsible acting cute sex toy who also happens to be a musician and singer (although not a very good one) and who, I assume, is already scheduled for being discarded in due time.

The cast is better than the story. Frances McDormand is really brilliant as the mother and gives her character unexpected charm and charisma. It really makes you believe she is successful in her job. Natascha McElhone's beauty is somehow beyond belief and slightly surreal. She plays the son's companion from work and potential lover. That wimp is of course much too inhibited to seize the opportunity. The relationship remains platonic, which may well cause further frustration and loathing. Incidentally, the location which serves as the mother's house is just beautiful (I wouldn't mind living in a place like that) and well used as location.

I did not like this movie, and yet I can recommend it. It's interesting and offers a lot for later discussions.

The best excuse for seeing Lisa Chodolenko's Laurel Canyon is Frances McDormand. She's an actress that delivers in whatever film she ever graces with her presence.

As usual, she does a remarkable job here. Ms. McDormnad's Jane lives among a cool crowd in L.A. where everything goes, everything is possible. She is a free soul who feels right at home with the rock crowd she nurtures as a record producer, even though she has seen better days.

Into that milieu, her son, Sam, and his uppity girlfriend, arrive. They are in for a real treat. Alex, who at the beginning of the film, is so constipated and proper, begins to loosen up. Obviously, she is ripe for some fun since Sam doesn't seem to satisfy her in the sack. How could Jane had produced such a square son? She's better at producing music.

Sam didn't inherit his mom's high libido. He can't even see that Sara, the somewhat mysterious second year intern at the hospital where he is assigned, has other things in mind, besides medicine, but he is so dense, he misses all the clues given to him.

The romps at the pool and the parties of fun and games at the Chateau Marmont are very kinky indeed. Mamma-Jane and Ian, her lover de jour, are predators in search of new blood. They find out that Alex is ready to take the plunge into their game, but horror of horrors, Mamma-Jane has scruples after all.

All the players are very good. Kate Beckingsale's Alex is well drawn, as is the square Sam, played by Christian Beale. Natascha McElone and Alessandro Nivola are very effective in their roles, but without a question, it's Frances McDormand's film and it's only when she dominates the screen that things come alive.

Featuring an great casts of lead actors and even with a relatively simple plot, Laurel Canyon succeeds due to the writing, the actors themselves and the overall storyline of the film. The drama and relationships among the film do feel very real and part of the reason is the acting. Although a disappointing and open ended ending, this film is worth the watch and quite underrated.

People are often disappointed in the ones that love them or the ones that they love. This disappointment can stem from the mistakes made by parents in the upbringing of their children, or perhaps the simple differences that separate family members. It is this frustration that plagues Christian Bale's character, Sam, in the film `Laurel Canyon.' A well-made character study, `Laurel Canyon,' explores the reasons for the distress and resentment that can reside between parents and their children. `Laurel Canyon' is about a man named Sam (Bale) and his fiancé Alex (Kate Bekinsale) who move to California so he can begin his medical residency at a local hospital and she can finish her dissertation. The pair moves in with Sam's mom Jane (Frances McDormand) who is record producer who lives on Laurel Canyon Road in Hollywood. Although she is in her mid 40s, she lives the life of a rock star, smoking pot, drinking, partying, and hanging out with her rock star boyfriend Ian (Alessandro Nivola), who is 16 years younger than she. Sam and Jane are always at odds with each other as he is ultraconservative and Jane is like a teenager. The two must weed out their problems and come to terms with each other about the mistakes that Jane made while bringing up Sam. Although a bit slow at times, `Laurel Canyon' was an interesting film that has its lighthearted and touching moments. It's funny to watch the subtle changes that begin in the characters lives. Alex, although conservative like Sam, is slowly being drawn into the free spirited world of Jane's home, with her parties and rock friends always around. Sam is being tempted by the fruit of another woman named Sara (Natascha McElhone), as their share their sexual desires with each other over private conversations in a car. And even Jane is beginning to recognize her own faults-she had several lovers throughout her life is starting to feel the need to settle on just one, Ian. Every character starts to understand that they are all the extreme end of different spectrums and they must learn to meet somewhere in the middle. The acting in the film was excellent. Every actor was believable and to a certain extent, the audience can feel their pain and happiness. McDormand (`Fargo') and Bale (`Empire of The Sun') steal the show with their amazing abilities to transcend the characters in the script to the dynamic people they present on the screen. Praise must also be given to Bekinsale (`Pearl Harbor') and Nivola (`Jurassic Park 3') for their exceptional performances.

One other superior quality of `Laurel Canyon' was the music, some of which was sung by Nivola. The soundtrack holds a great deal of classic rock songs from groups such as `Steely Dan,' `Leroy' and `Mercury Rev.'

Overall, `Laurel Canyon' was a very good movie that reminds its audience to look beyond the surface of things and to see what really matters in all relationships-love. ***

Laurel Canyon is above all a movie about feelings and relationships. A liberal mother, kind of hippie; a son that's much more conservative and that does not accept his mother's way of life; the son's fiancé, who's so engrossed in her studying that she has forgotten to live and enjoy life. Incomplete lives that may complete each other... and since it is a movie about emotional stuff it shouldn't fail precisely in that aspect: there are only 2 or 3 sequences that are really moving, meanwhile the rest of the movie passes between indifference and coldness.

Anyway, the final assessment it is rather positive, taking into account this was only the second Cholodenko's film: she knows how to move the camera, she's not pretentious at all, and the actor's selection is just nice: Christian Bale (the son) and Frances McDormand (the mother) are two of the best active actors. Kate Beckinsale is not as good as them, but she looks credible as the posey-swot girlfriend of Bale's character.

*My rate: 6.5/10

I can't believe that critics and moviegoers alike love this movie. based on the reviews I read in the Chicago papers, I was very excited to see this movie. I'm glad I waited until it came out on video.

The plot of this movie was obvious from the 5 minute mark when Sam and Alex are on the plane and he's complaining about how awful it's going to be staying with his mother for 2 weeks. The characters are one dimensional and their actions are inexplicable. Why would Alex's charecter ever be drawn to the band people; because she wanted to see the other side? Please, these people were borish and disgusting. What was her motivation for exploring her dark side? Was there something wrong with her relationship? Was there something troubling her about her work? Did she have a troubling relationship with her parents? Who knows, there really wasn't any motivation given for any of the characters actions. The only possible explanation is selfishness and that's just plain boring.

But, beyond all of this, the most preposterous plot line in the movie was the relationship between Alex and Jane. In what world does Alex, with her level of education and intelligence, with her backround and upbringing, ever enter into the relationship she has with Jane. This women is potentially her future mother-in-law. Although it might make for some interesting Christmas dinners.

I believe Frances McDormand is one of the great actresses in American cinema. But all the great ones make stinkers, lets hope this is hers.

This is an insightful and truly under-appreciated film. And, as anyone who has lived in the Hollywood/ West Hollywood area can attest, the film is also a very accurate portrayal of LA life in the biz. Bale and Beckinsale shine as well. Definitely McDormand's best work outside of "Fargo"; her versatility and talent continue to amaze and impress. The producers' choice of music is perfect and truly reflects the mood and tone of the film--it makes me want to go out and buy the soundtrack. :) Also, "Laurel Canyon" shows how frail and tenuous life's relationships can be. By straying from the "norms" of his serious, medical student world, Bale understands his mother's complexities and foibles and thus establishes the bond with her that he has possibly sought all his life. Well done!! *** 1/2

Meanders along with the main characters speaking softly, sometimes whispering until the louder ending. Everything is low key. I guess this is supposed to be real life naturalistic acting, but the quietness and slowness of things are peculiarly unnatural. What things actually happen, the story devolves into a porn standard plot, written without the sex and with some nudity teases, which makes the whole enterprise rather immature..

Life brings about changes, people do things but do not necessarily change. If you can identify with the characters and their lives, you might find it interesting. "Hey. gang!This movie is about us!" If not, it's pretty boring

I really enjoy reading other folks reviews of films I have seen. It is interesting to see how personal perspective is, well, personal.

I have been a paid critic in the past and have often explained to folks that opinions are just that, opinion. So I will endeavor to explain my case for this fine film.

This is a story of a journey. It is not the journey the characters think they're taking. It is the odd place they go on their way to what they thought they wanted. In that way, it is a lot like life.

You have the fish out of water aspect. A young couple wonders into his mother's life. A life he has never appreciated or enjoyed. His girlfriend, on the other hand, seems primed for the hedonism she encounters.

The mother (played to amazing life by Frances McDormand) is a record producer with a successful business life and a spotty personal one. She's in the midst of recording a record when her son descends. But it is the young man who fronts the group she's producing that has both her and her son's girlfriend in a lather.

There are emotional affairs flying about. There is moral condescension from characters who've been less than honorable.

On top of a good to great cast of principal actors, there's the soundtrack of flat-out great music.

Well directed, admirably cast, with an ambiguous and thoughtful script, plus enough sexual tension to fuel a score of teen comedies. Great flick. Bring your moral compass, and your ears.

The overall plot was weak, but they did a fair job of character development. I thought this was especially true for Sam (Christian Bale): at the beginning I found him so 1-dimensional but thought they really added some complexity to the character by the end that made me think about who this person was. Any movie that can make me think about the characters after the movie is over, did a good job of developing characters.

Also, I think this movie possesses what has to be one of the most realistic and sexy scenes ever: when Sam & Sara are sitting in the car telling each other what they've fantasized doing to one another, I found that so raw and sexual. Almost uncomfortable.

Frances MacDormand is good--she's always good--but I thought this was a bit too easy for her. Like she just sort of laid back and played her role.

I'm in love with both Christian Bale and Frances MacDormand so I had to watch this, but with the exception of the car scene, it was not great.

Frances McDormand (Fargo, North Country) steals this movie, written and directed by Lisa Cholodenko, with her relaxed portrait of a successful record producer whose never-ending quest for the ideal lover has tarnished her relationship with her son (Christian Bale).

While many people would be envious of having a mom who's a rich and famous rock-music producer and totally cool, Sam (Bale) sees only an irresponsible parent who refuses to grow up. "She's developmentally disabled." It doesn't help that mom is lot for the band's lead (Alessandro Nivola), who is half her age.

His W.A.S.P. fiancé (Kate Beckinsale) starts putting aside her dissertation on the reproductive qualities of fruit flies to hang out in the studio with the band.

Some may wonder what the point is, and if all the characters are losers in their own way, but I think having a mom who teaches lessons like "pass the bong to guests first, son," is way cool.

Of course, the best part of the film is the cast - I love McDormand in everything she does - and the music.

`Laurel Canyon' is no grand canyon archetype film but it does possess enough cerebral quirks for a marginal recommended viewing. Christian Bale stars as Sam, a constrained yuppie who is engaged to another constrained yuppette played by the luscious Kate Beckinsale. By the way, is there a more attractive actress than Kate Beckinsale? She is a vanity goddess! God, would I like to see her canyons? Anyway, back on track to `Laurel Canyon'. The film revolves around Sam & his fiancée's visit to his mother's Laurel Canyon mansion. Frances Mcdormand plays Jane, Sam's outspoken mother. She is a middle-aged music producer who still enjoys the virtues of the rock-n-roll life. Lady Mcdormand's performance as Jane the music producer produced greatness. Jane has her own young Tarzan in Alessandro Nivola as Ian Mcnight, a half-her-age British rock musician who is very sexually liberated. Alessandro, who was superb as Nicolas Cage's brother in `Face Off', is one actor who is up-and-coming and will probably face off with some elite thespian peers in the near future in blockbuster films. Writer-Director Lisa Cholodenko's look at the egoistic music business & its effect on its occupants' family members does possess vivid qualities. However, it hits `Laurel Canyon' rock bottom when it pays way too much attention to itself. Even though intriguing, there is no connection or endearment for the egoistic characters of the film. I do recommend a trip to `Laurel Canyon' but not an extended stay. *** Average

This movie has given me a new understanding and appreciation of a word I first learned in high school chemistry class: sublimation. That was when I learned that a solid could transform directly to a gas withoout becoming a liquid. But this movie introduced another meaning, and served it on a platter in the last scene.

I was really looking forward to this one. Anything with Frances in it is a must see for me. Frances tries something wonderful in this, and it works. She plays this pot-smoking, drinking, cursing, hitting-on-young-rock-stars forty plus successful record producer with an uptight son who is a psychiatrist. There was the potential for a great movie here and it falls far short of this. For one there is really no plot, the script meanders around. In Frances' hands it is riveting; in the others with their weird accents and an odd lack of depth to the characters it falls flat. I just waited for Frances to be on screen throughout the movie. This is a multi-layered performance and how she does it is why she is one of the best actors in the business today. Underneath this brilliant, crusty and rough exterior you see the odd flicker of vulnerability and you never for a moment doubt that though she hasn't got a clue as to who this son of hers is, she does love him. I found the other female characters mere shadows, not developed at all. I gave it a 6 - every one of them for Frances.

Laurel Canyon deals about the adversities you have to deal with whether you are more or less experienced. Every character on this story has different experiences: some are more naïve, some are more bohemian, some are more averse, and some don't care at all, but all of them have consciously made a mistake. I say consciously because there's no such thing as someone making mistakes in these situations without thinking thoroughly about the outcome. The premise and development are as simple as it can be, but simplicity doesn't mean banality. The screenplay in its simplicity has an incredible depth and reliability, whether it is on the awkward situations characters get into, or the sexual adventures, that some of us have been through. And to those who have, this movie speaks our language, because it relies on us and us in it. This is why some independent movies are such a pleasure to watch, because even though we are not there, we are those characters.

First of all, Another great performance by one of my favourite actors, Christian Bale as Sam. Ive been going for weeks now seeing alot of junk movies being released, and today i got a screener of this movie. I really enjoyed it, i know some of you will be disappointed about the movie's ending, but keep in mind that this is not always the case. 7/10

When I finally decided to watch LAUREL CANYON, I thought that this would be a good movie. I mean, just look at the cast, right? But then in hindsight, I should have known better, simply just by *really* looking at the cast: Christian Bale and Natascha McElhone should have told me to expect a quasi-disaster, with Bale having appeared in a long string of terrible films (like REIGN OF FIRE, EQUILIBRIUM, etc) and McElhone having an almost identical number of crappy projects, like KILLING ME SOFTLY or REVELATIONS, or the half-baked SOLARIS remake. From now on, if I see either actors headlining a movie, I will lower my expectations quite considerably. But the two actors are not to blame for the complete crappiness of LAUREL CANYON. The director, the script and the producers who greenlighted this stillborn project are first and foremost to blame here.

The story sorta had potential (behind the scenes of the music industry) but I've never seen a movie shoot itself in the foot on so many occasions as this film. It's almost unreal. Whatever chance this film had to turn up good was repeatedly destroyed by the kooky decisions made for the film:

1 - The Christian Bale and Kate Beckinsale characters are so annoying and unbelievably fake that the whole drama of the story, which weighs on their attitude towards the people they have to live with and their new dwelling, falls apart from the get-go. Those characters aren't real people but just types.

2 - Kate Beckinsale's acting. But I don't blame her for such a bad bit of acting. Her character is so ridiculous, being a quasi-frigid woman who turns into a free thinking woman who's willing to have sex with her boyfriend's mother(!), that I don't think any actor, including Meryl Streep, could have given some gravitas to this joke of a character.

3 - Natascha McElhone's accent. Just awful. One of the worst accents I've ever heard, even beating out Rosanna Arquette's awful accent in THE WHOLE NINE YARDS. No one noticed how bad the accent was? Was everyone in denial or asleep at the wheel? Why even an accent?!?!

4 - The story. 100% predictable and devoid of anything interesting, including drama (the scene where Bale and Beckinsale scream at each other and then cry is laugh inducing). The scenes with Frances bitching over the phone with the female record producer are trite and serve no purpose at all.

5 - The music. The music the band plays is so bad, certainly the ballad, that I had to fast forward through these scenes. If you're making a movie about the music industry, please get some good music first because the whole reality of the film falls apart once we hear the crappy music.

Those are the five major points where the film actually shot itself in the foot for no reason, as those points could have easily been fixed before they started filming. The only redeeming feature in LAUREL CANYON is Kate's beauty. She's really gorgeous. But she should really choose better film projects in the future.